ISBN D-3^b-DflEMD-fl FPT >$E7-^S
THE BURNS MANTLE YEARBOOK
THE
BEST PLAYS
1982-1983
Editedby
OTIS L. GUERNSEY JR.
Illustrated with drawings by
AL HIRSCHFELD
and photographs of all
1982-83 highlights
Here in the 1982-83 Best Plays volume are pre-
sented all those features which have made this
series the outstanding reference book on the
American theater. Familiar features include the
listings of all plays produced in New York (on
and off Broadway and off off Broadway), an-
nual awards and vital statistics of productions,
prizes, people and publications. Here also are
the editor's choices of the ten Best Plays, repre-
sented with excerpts from scripts. Additional pho-
tographs throughout the book record visually
the season's highlights, and the index of performers
and all other persons mentioned in the book makes
this an even more valuable volume for reference
purposes.
Once again Ella Malin has compiled a Direc-
tory of Professional Regional Theater especially for
this book, which gives the vital statistics of every
professional regional theater production from coast
to coast.
BOSTON
PUBLIC
UBl^RY
Digitized by the Internet Archive
in 2011
http://www.archive.org/details/bestplaysofOOnewy
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THE BEST PLAYS OF 1982-1983
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THE
BURNS MANTLE
YEARBOOK
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3 BEST PLAYS g
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EDITED BY OTIS L. GUERNSEY JR.
Illustrated with photographs and
with drawings by HIRSCHFELD
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DODD, MEAD & COMPANY
NEW YORK
our* 1984
CODMAiM SQUARE
Copyright © 1983 by Dodd, Mead & Company, Inc.
ISBN: 0-396-08240-8
Library of Congress Catalog Card Number 20-21432
Printed in the United States of America
"Closely Related": by Bruce MacDonald. Copyright ©1983 by Bruce MacDonald. Reprinted by
permission of the Helen Merrill Agency. See caution notice below. All inquiries should be addressed
to the author's representative: Helen Merrill, 337 West 22nd Street, New York, N.Y. 10011.
"Good": by C. P. Taylor. Copyright ©1982 by C. P. Taylor. Reprinted by permission of Michael
Imison Playwrights, Ltd. See caution notice below. All inquiries concerning amateur production
rights should be addressed to: Dramatic Publishing Company, 164 Main Street, Westport, Connecti-
cut 06880. All inquiries concerning other rights should be addressed to: Michael Imison Playwrights,
Ltd., Somerset House, 150 West 47th Street, Apt. 5F, New York, N.Y. 10036.
"Cats": based on Old Possum's Book of Practical Cats by T. S. Eliot. Excerpts from Old Possum's
Book of Practical Cats by T. S. Eliot are reprinted by permission of Harcourt Brace Jovanovich, Inc.;
copyright 1939 by T. S. Eliot, renewed 1967 by Esme Valerie Eliot. "Memory" incorporates lines from
Collected Poems 1909-1962 by T. S. Eliot, copyright 1936 by Harcourt Brace Jovanovich, Inc.,
copyright © 1963, 1964 by T. S. Eliot, which are reprinted by permission of the publisher. All inquiries
should be addressed to: Permissions, Harcourt Brace Jovanovich, Publishers, 757 Third Avenue, New
York, N.Y. 10017.
"Angels Fall": by Lanford Wilson. Copyright ©1983 by Lanford Wilson. Reprinted by permission
of Hill and Wang, a division of Farrar, Straus and Giroux, Inc. See caution notice below. All
inquiries concerning amateur production rights should be addressed to: Dramatists Play Service, Inc.,
440 Park Avenue South, New York, N.Y. 10016. All inquiries concerning other rights should be
addressed to the author's representative: Bridget Aschenberg, International Creative Management,
40 West 57th Street, New York, N.Y. 10019.
"Plenty": by David Hare. Copyright ©1978 by David Hare. Reprinted by permission of The New
American Library, Inc. See caution notice below. All inquiries concerning amateur production
rights should be addressed to: Samuel French, Inc., 25 West 45th Street, New York, N.Y. 10036. All
other inquiries should be addressed to: The New American Library, Inc., 1633 Broadway, New York,
N.Y. 10019.
"Foxfire": by Susan Cooper and Hume Cronyn. Copyright ©1979, 1983 by Susan Cooper and Hume
Cronyn. Reprinted by permission of the authors. See caution notice below. All inquiries concerning
stock and amateur production rights should be addressed to: Samuel French, Inc., 25 West 45th
Street, New York, N.Y. 10036. All inquiries concerning other rights should be addressed to: Bridget
Aschenberg, International Creative Management, 40 West 57th Street, New York, N.Y. 10019.
"Extremities": by William Mastrosimone. Copyright ©1983 by William Mastrosimone. All rights
reserved. Reprinted by permission of William Morris Agency, Inc. on behalf of the author. See
CAUTION notice below. All inquiries should be addressed to: William Morris Agency, Inc., Attention:
George Lane, 1350 Avenue of the Americas, New York, N.Y. 10019.
"K2": by Patrick Meyers. Copyright ©1980, 1982, 1983 by Patrick Meyers. Reprinted by permission
of the Helen Merrill Agency. See caution notice below. All inquiries should be addressed to the
author's representative: Helen Merrill, 337 West 22nd Street, New York, N.Y. 10011.
" 'night, Mother": by Marsha Norman. Copyright ©1983 by Marsha Norman. Reprinted by permis-
sion of Hill and Wang, a division of Farrar, Straus and Giroux, Inc. See caution notice below. All
inquiries concerning stock and amateur production rights should be addressed to: Dramatists Play
Service, Inc., 440 Park Avenue South, New York, N.Y. 10016. All inquiries concerning other rights
should be addressed to the author's agent: William Morris Agency, Inc., Attention: Samuel Liff, 1350
Avenue of the Americas, New York, N.Y. 10019.
"My One and Only": by Peter Stone and Timothy S. Mayer. Copyright ©1983 by Peter Stone and
Timothy S. Mayer. All rights reserved. Reprinted by permission of International Creative Manage-
ment. See CAUTION notice below. All inquires should be addressed to the author's representative:
International Creative Management, Attention: Sam Cohn, 40 West 57th Street, New York, N.Y.
10019.
CAUTION: Professionals and amateurs are hereby warned that the above-mentioned plays, being fully
protected under the Copyright Law of the United States of America, the British Commonwealth,
including the Dominion of Canada, and all other countries of the Copyright Union, the Berne
Convention, the Pan-American Copyright Convention and the Universal Copyright Convention, are
subject to license and royalty. All rights including, but not limited to, reproduction in whole or in
part by any process or method, professional use, amateur use, film, recitation, lecturing, public
reading, recording, taping, radio and television broadcasting, and the rights of translation into foreign
languages, are strictly reserved. Particular emphasis is laid on the matter of readings, permission for
which must be obtained in writing from the author's representative or publisher, as the case may be
with the instructions set forth above.
Al Hirschfeld is represented exclusively by The Margo Feiden Galleries, New York.
EDITOR'S NOTE
DURING the past year, Dodd, Mead & Company, publisher of this series of Best
Plays theater yearbooks since it began with the season of 1919-20, became a part
of the larger corporate entity of Thomas Nelson Publishers. This has not changed
the shape or direction of the series started by the late Burns Mantle and carried
forward under the editorship of John Chapman, Louis Kronenberger, Henry
Hewes and the incumbent. The Best Plays of 1982-83 has the same devoted
contributors in its various departments, the same diligent assistance by the edi-
tor's wife in striving for accuracy, the same careful supervision by Jonathan Dodd
of Dodd, Mead, with the aim of putting out a superlatively informative and
inspirited record of a year of American theater activity.
This 64th volume in the series contains complete factual details of every pro-
duction on the professional New York stage in our listings of 1982-83 produc-
tions on and ofT Broadway, plus the most broadly comprehensive collection of
program information about off off Broadway by Camille Croce and about regional
theater transcontinentally acquired by Ella A. Malin. Rue Canvin keeps our
record of necrology and publications; Stanley Green records the year's major cast
replacements in New York shows at home, on tour and abroad; Henry Hewes
provides details of the New York Drama Critics Circle voting, and William
Schelble does the same for the Tonys. Additional and indispensable assistance
with the facts is generously provided by scores of members of the theater's public
relations departments, while others who have helped us keep the record broad
and straight include Hobe Morrison of Variety, Ralph Newman of the Drama
Book Shop, Robert Nahas of Theater Arts Book Shop, Alan Hewitt, Thomas T.
Foose and Alfred Simon.
Significant developments for better or for worse within this wealth of data
about 1982-83 are pointed out by the editor in his report on The Season in New
York, while Mel Gussow, distinguished New York Times drama critic, does the
same for the off-off-Broadway year. Al Hirschfeld's incomparable drawings en-
hance these pages as they do the pages of the Times during the season, and we
are proud of his long and continuing participation in our project. On behalf of
our readers, we extend our gratitude for the stage design sketches illustrative of
the year's best work in this field (provided for us by Patricia Zipprodt, John
Napier and Rita Ryack), as well as for the expressive photos which freeze the
"look" of our theater in New York and across the country in the excellent work
of Martha Swope, Bert Andrews, Mark Avery, Robert Burroughs, Jack Bux-
baum, William B. Carter, Peter Cunningham, Zoe Dominic, Kenn Duncan,
Anita Feldman-Shevett, Richard Feldman, David Friedman, Gerry Good-
stein, Henry Grossman, James Hamilton, Andy Hanson, Barry Holniker, David
Jiranek, Kenneth Kauffman, Joan Marcus, Mike Martin, Inge Morath, Lanny
Nagler, Bill Pierce, Charles Rafshoon, Carol Rosegg, Jeff A. Slotnick, Ron M.
Stone, Jay Thompson, Sandy Underwood and VMT Photo.
vii
viii EDITOR'S NOTE
The inspirited part of our coverage annually reaches its climax in the synopses
of New York's ten Best Plays and of the outstanding cross-country script. The
former are selected solely by the editor, the latter by a committee of the American
Theater Critics Association, headed by Ann Holmes of the Houston Chronicle,
for inclusion in the Best Plays volume as an introduction to our section on The
Theater Around the United States (together with brief reviews by critics around
the country of other outstanding works nominated in this process, providing a
panoramic view of the peaks of 1982-83 theater in the U.S.). These synopses of
the Best Plays, prepared by the editor and two contemporary playwrights —
Jeffrey Sweet and Sally Dixon Wiener — are like reflections on the wall of Plato's
cave, as close an approximation of the real thing as possible within the limits of
the medium. At the very least, they document the existence and personality of
that reahty: a vibrantly expressive theater, long predating Plato and long to
outlast our reflective homage, capably tended by a large group of modern drama-
tists which, like our Best Plays yearbook, refreshes and renews itself year after
year.
OTIS L. GUERNSEY Jr.
July 1, 1983
CONTENTS
editor's note vii
SUMMARIES OF THE SEASONS 1
The Season in New York 3
One-page Summary of the Broadway Season 13
One-page Summary of the Off-Broadway Season 25
The Season Around the United States 45
Closely Related 47
A Directory of Professional Regional Theater 68
THE TEN BEST PLAYS 121
Good 123
Cats 138
Angels Fall 153
Plenty 173
Foxfire 191
Extremities 211
Quartermaine's Terms 229
K2 237
'night, Mother 247
My One and Only 261
A GRAPHIC GLANCE BY HIRSCHFELD 273
PLAYS PRODUCED IN NEW YORK 327
Plays Produced on Broadway 329
Plays Which Closed Prior to Broadway Opening 365
Plays Produced Off Broadway 368
Plays Produced Off Off Broadway 41 1
Cast Replacements and Touring Companies 435
FACTS AND FIGURES 451
Long Runs on Broadway 453
Long Runs Off Broadway 456
New York Critics Awards 457
ix
X CONTENTS
New York Drama Critics Circle Voting 458
Pulitzer Prize Winners 460
The Tony Awards 461
The Obie Awards 464
Additional Prizes and Awards 465
1982-1983 Publication of Recently Produced Plays 467
Musical and Dramatic Recordings of New York Shows 469
Necrology 470
The Best Plays, 1894-1982 479
INDEX 495
Drawings by HIRSCHFELD
Tommy Tune in My One and Only 274
Charles "Honi" Coles in My One and Only 275
Dana Ivey and Remak Ramsay in Quartermaine's Terms 276
John Rubinstein and Michael Moriarty in the revival of The Caine
Mutiny Court-Martial 111
Edmund Lyndeck, Betsy Joslyn, Barbara Lang, Peter Gallagher and
George Hearn in A DolVs Life 278-279
Betty Buckley in Cats 280
Stephen Hanan in Cats 281
James Russo and Far rah Fawcett in Extremities 282
Jeffrey De Munn in K2 283
Doug Henning, Chita Rivera, Rebecca Wright and Nathan Lane in
Merlin 284-285
Lara Teeter and Natalia Makarova in the revival of On Your Toes 286
Dina Merrill in the revival of On Your Toes 287
Al Green in Your Arms Too Short to Box With God 288
Fritz Weaver and Barnard Hughes in Angels Fall 289
Reed Jones, Anna McNeely, Timothy Scott, Kenneth Ard, Terrence V.
Mann, Stephen Hanan, Christine Langner, Rene Clemente and Ken
Page in Cats 290-291
Christine Lahti in the revival of Present Laughter 292
George C. Scott in the revival of Present Laughter 293
Lynn Milgrim in Talking With 294
David Rounds in Herringbone 294
CONTENTS xi
Polly Pen in Charlotte Sweet 295
John Neville, Kevin Spacey and Liv Ullmann in the revival of Ghosts 296-297
Gary Sinise and John Malkovich in True West 298
Liz Robertson, George Rose and Len Cariou in Dance a Little Closer 299
Elizabeth Taylor and Richard Burton in the revival of Private Lives 300-301
Roxanne Hart in Passion 302
Trey Wilson in Foxfire 303
Mandy Ingber, Joyce Van Patten, Elizabeth Franz, Matthew Broder-
ick, Jodi Thelen, Peter Michael Goetz and Zeljko Ivanek in Brighton
Beach Memoirs 304-305
Mary Beth Hurt in The Misanthrope 306
Thuli Dumakude in Poppie Nongena 306
Kevin Bacon in Slab Boys 307
Lonette McKee, Avril Gentles, Bruce Hubbard, Donald O'Connor,
Karla Burns, Sheryl Woods and Ron Raines in the revival of Show
Boat 308-309
George Martin in Plenty 310
Edward Herrmann in Plenty 311
Jane Alexander, Karen Allen and William Converse-Roberts in Mon-
day After the Miracle 312-313
James Coco in the revival of You Can't Take It With You 314
Nancy Marchand in Sister Mary Ignatius Explains It All for You 314
Mark Hamill in Amadeus 315
Naomi Moody, Larry Marshall and Michael V. Smartt in the revival
of Porgy and Bess 3 1 6-3 1 7
Debbie Reynolds in Woman of the Year 318
Raquel Welch in Woman of the Year 319
Mark Linn-Baker, Robert Joy, Bob Gunton and John Vickery in The
Death of Von Richtofen as Witnessed From Earth 320-321
Ellen Greene in Little Shop of Horrors 322
Joseph Maher in 84 Charing Cross Road 322
Julie Hagerty in Wild Life 323
Hume Cronyn, Keith Carradine and Jessica Tandy in Foxfire 324-325
Eli Wallach and Anne Jackson in Twice Around the Park 326
I
SUMMARIES
OF THE
SEASONS
>■
x^^^^H
T
MUSICAL HIGHLIGHTS OF \9S2-S3— Above, Twiggy (center) with
aqua chorus (Jill Cook, Susan Hartley, Niki Harris, Nana Visitor, Ste-
phanie Eley, Karen Tamburrelli) in My One and Only; below, a scene
from Cats with Rene Ceballos, Bonnie Simmons and Donna King
o
o
o
THE SEASON IN NEW YORK
O By Otis L. Guernsey Jr.
O
O
FOR the second season in a row, British playwrights dominated the New York
stages. In 1981-82 they did it by standing especially tall with the towering,
multi-award-winning The Life <&. Adventures of Nicholas Nickleby. In 1982-83
they did it with the force of numbers, pervading every production area with new
scripts of major distinction.
The Best Plays list for 1982-83 records this transatlantic triumph with five of
the ten from British dramatists: the musical Cats and the plays Good and
Foxfire on Broadway, Quartermaine's Terms off Broadway and Plenty both off
and on. And behind these loomed a backup contingent of strong 1982-83 British
offerings in all shapes and sizes: Slab Boys, Top Girls, Passion, Whodunnit,
Steaming, Skirmishes, plus the Royal Shakespeare Company's production of All's
Well That Ends Well, in a humbling display of energy and virtuosity.
It's some consolation that the season's best-of-bests was the stark 'night,
Mother, Marsha Norman's piteously detailed study of suicidal despair; and that
the American musical stage finally — finally — provided My One and Only to share
the limelight with Cats, but it took a Gershwin score, Peter Stone co-authorship
of the book and Tommy Tune dances to do it. Other American dramatists who
made this year's Best Plays list were William Mastrosimone, in whose Ex-
tremities a victim of an attempted rape turns on her attacker; Patrick Mey-
ers with his implacably cliff-hanging K2; and Lanford Wilson exposing various
strong-minded individuals to a possible nuclear accident in Angels Fall.
So our American authors managed at last to occupy half the places on the Best
Plays list. The other five were preempted by their British counterparts, as noted
above: Andrew Lloyd Webber, Trevor Nunn and the late Anglicized American
T.S. Eliot with their celebration of felinity in Cats; Susan Cooper and the Ameri-
canized Canadian Hume Cronyn with their Blue Ridge ballad, Foxfire; the late
C.P. Taylor with a terrifying outline of creeping Nazism in Good; David
Hare with a despairing view of what his Britain may have become in Plenty; and
Simon Gray with still another closeup of self-destructive alienation in Quarter-
maine's Terms (and John Byrne's abrasive comedy of industrial underdogs. Slab
Boys, came very close to making the list).
Two musicals and eight plays; six Broadway productions (Cats, Good,
Foxfire; 'night, Mother; My One and Only, K2), two off Broadway {Extremi-
ties, Quartermaine's Terms) and two transferred from off to on (Plenty, Angels
Fall); four from London (Cats, Good, Quarter maine's Terms, Plenty), four from
previous exposure in regional theater (Foxfire; 'night, Mother; Extremities,
K2), one produced directly for Broadway via Boston tryout (My One and
3
4 THE BEST PLAYS OF 1982-1983
Only) and one directly for off Broadway (Angels Fall), with only one of the ten
(as far as we know) ever having used OOB as a stepping stone along the way
(Extremities); two professional playwriting debuts (Susan Cooper and Timothy
S. Mayer, co-author of My One and Only) four repeat Best Play authors (Marsha
Norman, Simon Gray, Peter Stone and Lanford Wilson), six if we count T.S.
Eliot and the Gershwins — such was the composition of the 1982-83 Best Plays
Hst.
Other best-challenging 1982-83 American works were, on Broadway, Twice
Around the Park by Murray Schisgal; and, off Broadway, Talking With by "Jane
Martin," the pseudonymous author of last season's ATCA selection brought to
New York by Manhattan Theater Club; Edmond by David Mamet; The Middle
Ages by A.R. Gurney Jr., and the musical Little Shop of Horrors by Howard
Ashman and Alan Menken, which won this year's Critics Award for best musical.
On the other side of the coin, our theater's need for a continuous supply of new
authorship is strongly suggested by the unhappy 1982-83 showing of such "estab-
lished" dramatists as Edward Albee, William Gibson, Betty Comden and Adolph
Green, Jay Presson Allen, Alan Jay Lerner, Beth Henley and even Neil
Simon, whose latest work Brighton Beach Memoirs fell far below his usual,
unrivaled comic standard, the Critics Award for best-of-bests to the contrary
notwithstanding.
A funny thing happened to the Broadway theater on the way to seemingly
infinite riches: the price of a ticket was rising steadily toward the impossible
dream of $50, with the $45 musical becoming a commonplace and Cats deter-
mined to go higher at the turn of the year, when the whole hydraulically inflation-
ary process ran out of power. Cats never did make it to $50, at least not as of
the end of the 1982-83 theater season on May 31. According to Variety estimate,
the average paid Broadway admission had risen during the twelve months to
$27.69 from $23.08 (which it had reached from $19.72 the year before); even so,
the total overall Broadway gross fell off, failing to establish a new record for the
first time in many seasons. It fell from $221 million last year to $203,126,127 in
1982-83, while the road receipts dropped from a record $249 million to $184,-
321,475. These were still the second-highest New York and third-highest road
grosses in theater history; but with production costs finding it possible to reach
$4 million for a full-scale musical and $ 1 million for a straight play, these receding
totals put the Broadway theater right in the middle of the 1980s recession along
with everything else. Its most vital statistic — total paid attendance — fell off from
about 10.7 million in 1981-82 to 8,102,262 in 1982-83, or about 73 per cent of
capacity on the average, a level at which few Broadway productions could even
hold their own, let alone ever make it into the black. This may account for the
fact that of the 1982-83 Broadway offerings, only Plenty had paid off its invest-
ment as of the end of the season, according to Variety.
Now for the good news: production activity held up pretty well during the past
year, both on and off Broadway. Not counting specialties, Broadway housed 49
new productions as compared with only 45 in 1981-82, 51 the year before that
and 58 at a 1979-80 peak. This year's 49 included 14 revivals, so that the total
number of new Broadway plays, musicals and revues amounted to 35, two more
than last year, including three transfers and a return engagement. Musicals held
/=!»;
BRITISH COMEDlES^Above, Bob
Gunton, Cathryn Damon, E. Kather-
ine Kerr and Frank Langella in Peter
Nichols's Passion; at right, Sean Penn,
Kevin Bacon and Jackie Earle Haley
in John Byrne's Slab Boys
6 THE BEST PLAYS OF 1982-1983
their level of ten new shows (plus three important, full-scale revival productions),
and while new American plays fell off a bit, British imports took up the slack.
The bad activity news was the continuing drop in Broadway playing weeks (if ten
shows play ten weeks, that's 100 playing weeks) from the record 1,545 in 1980-81
to 1,461 in 1981-82 to 1,259 in 1982-83.
Off Broadway, the production of new plays and musicals (routinely at a $14-16
top but rising above $20 on occasion) also held steady, reaching 59 in 1982-83
after 60 last year. The pinch was felt most strongly off Broadway in the demise
of the Phoenix Theater, which called it quits after 30 years of distinguished
contribution to the New York stage; and in the wavering of some groups moving
their productions up and down across the boundary between off and off off
Broadway, with their differing commitments, at the mercy of the ebb and flow
of financial tides. Only Manhattan Theater Club and Circle Repertory Com-
pany seemed to strengthen in 1982-83, the former bringing all of its Upstage
offerings (previously OOB) up to off-Broadway status equal to its Downstage
productions, and the latter mounting a remarkable parade of new scripts by
American dramatists.
Financial data on individual shows didn't seem to be disseminated as freely as
in past seasons, but there were inklings of both triumph and disaster in what few
press reports were available. In these random Variety citations of recent figures
on a series of hit musicals, note the rising production costs: Company (1970),
$245,000 profit on an original investment of $530,000; Nine (1982), $546,000
profit on $2,750,000; A DolVs Life (1982), a clean loss at $4 million; My One and
Only (1983), capitalized at $2,750,000 but reported to have cost over $4 million.
And the March 1983 West Coast production of Dreamgirls cost almost as much
to put on ($3 milhon) as the original 1981 Broadway version ($3.6 million) — but
Dreamgirls paid off its huge nut in 34 weeks, by August 1982, something of a
modern record.
Under such conditions, it can come as a surprise to few that producing shows
in the New York theater of 1982-83 has evolved from an impresario to a team
effort, with numbers that rival a baseball aggregation, the bench included (i.e.,
it took nine producers to put on the musical Nine a year ago, and five organiza-
tions plus four producers for AlFs Well That Ends Well this season). As a
corollary, an active producing unit was apt to make the team of a goodly number
of shows (gone were the days when one impresario laid one egg, golden or
otherwise, or nursed one chicken to maturity). By our count — and it's possible
that we've overlooked one or more at bats — Kennedy Center and/or Roger L.
Stevens were most active, participating in ten (Ghosts, Twice Around the
Park, Monday After the Miracle, Angels Fall, On Your Toes, Dance a Little
Closer, Show Boat, The Caine Mutiny Court-Martial and the two Broadway-
bound plays that closed out of town. Outrage and Make and Break). Slightly less
active but even more conspicuous was The Shubert Organization with eight, four
of them Best Plays (Cats, Good, Angels Fall; 'night. Mother; Marcel Mar-
ceau and AlFs Well That Ends Well on Broadway and The Middle Ages and Little
Shop of Horrors off). James M. Nederlander got into the game with six
(Ghosts, A DolVs Life, Merlin, Dance a Little Closer, Teaneck Tanzi: The Venus
Flytrap and Show Boat), two of them very costly and very short-lived musicals.
THE SEASON IN NEW YORK 7
Claire Nichtern's Warner Theater Productions also backed six (A DolVs LifCy
Good, Foxfire, The Wake of Jamey Foster, A Little Family Business and Twice
Around the Park), two of them Best Plays. David Geffen's name was on
Cats, Good and Little Shop of Horrors — two Best Plays and a Critics Award
winner. Elizabeth I. McCann and Nelle Nugent continued their class act with
Good and AlTs Well That Ends Well but suffered a setback with Total Aban-
don . Paramount Theater Productions covered itself with the glory of M>' One and
Only and Slab Boys; CBS Broadcast Group put its money on Ghosts; Radio
City put on Porgy and Bess and then went outside the Music Hall and put its toe
in the water of Brighton Beach Memoirs; Columbia Pictures Stage Produc-
tions gave us Merlin, while ABC and M-G-M participated in AlFs Well That
Ends Well.
The year's most flamboyant direction was Trevor Nunn's of Cats, for which
he won the best-musical-direction Tony; and he also staged the visiting AlTs Well
That Ends Well and was nominated for the best-play-direction Tony. The most
beguiling was Tommy Tune's and Thommie Walsh's of .Vfy One and Only. Robert
Allan Ackerman had an outstanding season with the Best Play Extremities and
Slab Boys, as did Marshall W. Mason with the Best Play Angels Fall and
Passion, not forgetting David Trainer (Foxfire), Terry Schreiber (K2), Tom
Moore Cnight, Mother), Howard Davies (Good), Arvin Brown (A View From the
Bridge) and nonagenarian George Abbott revitalizing his own musical On Your
Toes. Other authors who staged their own work this season with either marked
success or marked absence of it were Howard Ashman (Little Shop of Hor-
rors), James Roose-Evans (84 Charing Cross Road), Eva Le Gallienne (Alice in
Wonderland), Edward Albee (The Man Who Had Three Arms), David Hare
(Plenty) and Alan Jay Lerner (Dance a Little Closer).
Design achievement, like beauty, is very much in the eye of the beholder, and
Ming Cho Lee certainly knocked it out with his representation of a Himalayan
20,000-footer in K2. So did John Napier with set and Tony-winning costumes of
Cats. John Lee Beatty had a phenomenally prolific and effective season of set
design with The Middle Ages, Monday After the Miracle, Alice in Wonder-
land, Angels Fall, What I Did Last Summer and Passion. Other shows that in
the eye of this beholder seemed unusually well served by their scenery were
Foxfire (David Mitchell, who also did Brighton Beach Memoirs, Dance a Little
Closer and Private Lives), Steaming (Marjorie Bradley Kellogg, who also did
Extremities, Wild Life, Present Laughter, The Misanthrope and the short-lived
Moose Murders), My One and Only (Adrianne Lobel), Slab Boys (by its author,
John Byrne), 84 Charing Cross Road (Oliver Smith) and Whodunnit (Andrew
Jackness), the latter play enjoying the standout costume designs of Patricia
Zipprodt, who also costumed Alice in Wonderland (after the Tenniel drawings),
Brighton Beach Memoirs and Don Juan.
Busiest this season among the costume creators was Theoni V. Aldredge with
Ghosts, A Little Family Business, Merlin, Hamlet, Private Lives and Buried
Inside Extra. Jennifer Von Mayrhauser costumed The Wake of Jamey Foster,
Steaming, Angels Fall, What I Did Last Summer and Passion. And John
Byrne's costumes for his own Slab Boys, Pearl Somner's for 84 Charing Cross
Road, Jane Greenwood's for Plenty and Rita Ryack's for My One and Only
ty_jij ^ . K'>^-'
%
'^-K
*v
«?p
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I
S' V
Pictured above are examples of Patricia Zipprodt's costume design sketches
for Anthony Shaffer's comedy thriller Whodunnit, for the characters Lady
Tremurrain (A Dotty Aristocrat) at left and Lavinia Hargreaves (A Sweet
Young Thing) at right
seemed particularly well adapted to the mood and content of their productions.
Annually, the saddest tale we have to tell is of gifted actors and actresses left
stranded in the glare of public attention by the collapse of flimsy vehicles. In
1982-83, this bitter experience was shared by the likes of Jane Alexander, Leslie
Uggams, Angela Lansbury, John McMartin, Robert Drivas, Kevin O'Con-
nor, Richard Dreyfuss, Georgia Engel, George Rose, Peter Falk and Len
Cariou. In heavy counterbalance, there were the major 1982-83 achievements of
the New York acting community: Jessica Tandy with Hume Cronyn in
Foxfire and Kathy Bates with Anne Pitoniak in 'night. Mother . . . Alan
Howard becoming a Nazi in Good . . . Tommy Tune as a tall, bashful, 1920s
aviator who can also tap-dance up a storm in My One and Only, in partnership
with the soulful Twiggy . . . Jeffrey De Munn clinging to the ice wall in K2
. . . Susan Sarandon hoisting James Russo on his own petard in Extremities
. . . The calculated repulsiveness of Nicol Williamson in The Entertainer, John
Malkovich in True West and Kate Nelligan in Plenty . . . The subtle magnetism
of Joseph Maher and Ellen Bursty n in 84 Charing Cross Road and of Remak
Ramsay in Quarter maine's Terms . . . The special star quality of Sean Penn in
Slab Boys, Judith Ivey in Steaming, George C. Scott in Present Laughter, Tony
Lo Bianco in A View From the Bridge, Matthew Broderick in Brighton Beach
Memoirs and Harvey Fierstein repeating his Torch Song Trilogy for Broadway
audiences . . . The comic personae of Eli Wallach and Anne Jackson in Twice
Around the Park, and of Frank Langella and Bob Gunton in pursuit of Roxanne
THE SEASON IN NEW YORK 9
Hart in Passion . . . Jason Robards at the head of a star-studded cast in the latest
return of You Can't Take It With You . . . Betty Buckley, Timothy Scott and
company in Cats . . . The ensembles of Talking With and Top Girls (both British
and American casts). Such were the 1982-83 performance impressions foremost
in memory and likely to be the last to fade from it.
The ultimate insignia of New York professional theater achievement (we insist)
are the Best Plays citations in these volumes, designations which are 16 years
older than the Critics Awards and only three years younger than the Pulitzer
Prizes. Each Best Play selection is now made with the script itself as the first
consideration, for the reason (as we've stated in previous volumes) that the script
is the spirit of the theater's physical manifestation. It is not only the quintessence
of the present, it is most of what endures into the future. So the Best Plays are
the best scripts, with as little weight as humanly possible given to comparative
production values. The choice is made without any regard whatever to a play's
type — musical, comedy or drama — or origin on or off Broadway, or popularity
at the box office, or lack of same.
We don't take the scripts of other eras into consideration for Best Play citation
in this one, whatever their technical status as American or New York "pre-
mieres" which didn't happen to have a previous production of record. We draw
the line between adaptations and revivals, the former eligible for Best Play selec-
tion but the latter not, on a case-by-case basis. We likewise consider the eligibility
of borderline examples of limited-engagement and showcase production case by
case, ascertaining whether they're probably "frozen" in final script version and
no longer works-in-progress before considering them for Best Play citation (and
in the case of a late-season arrival the determination may not be possible until
the following year).
If a script influences the very character of a season, or by some function of
consensus wins the Critics, Pulitzer or Tony Awards, we take into account its
future historical as well as present esthetic importance. This is the only special
consideration we give, and we don't always tilt in its direction, as the record
shows.
The ten Best Plays of 1982-83 are listed here for visual convenience in the order
in which they opened in New York (a plus sign -h with the performance number
signifies that the play was still running after May 31, 1983).
Cats Extremities
(Broadway; 270+ perfs.) (Off Broadway; 182+ perfs.)
Good Quartermaine's Terms
(Broadway; 125 perfs.) (Off Broadway; 111+ perfs.)
Angels Fall K2
(Off 65; Broadway 64 perfs.) (Broadway; 71+ perfs.)
Plenty 'night. Mother
(Off 45; Broadway 92 perfs.) (Broadway; 70+ perfs.)
Foxfire My One and Only
(Broadway; 213 perfs.) (Broadway; 33+ perfs.)
s
BRIGHTON BEACH MEMOIRS— Mandy Ingber, Matthew Broderick,
Elizabeth Franz, Joyce Van Patten and Jodi Thelen in a scene from the Critics
Award-winning comedy by Neil Simon
Broadway
In the vanguard of this season's British parade was the vivacious and imagina-
tive Cats, in which Andrew Lloyd Webber set portions of T.S. Eliot's Old Pos-
sum's Book of Practical Cats to music, with additional material based on
Eliot works adapted by Trevor Nunn and Richard Stilgoe (the exact etymology
of this show's libretto is described in Nunn's Playbill footnote, quoted in the
Cats portion of the Best Plays section of this volume). To begin with, Eliot's
verses are irresistible. The cast acted them out in high spirits, tails up and
costumed by John Napier to appear uniformly feline in vividly individualistic
ways (see the Cats photos in the Best Plays section of this volume); and
Napier's deliberately overblown set represented a cat-scale garbage dump — that
is, the simulated trash on the Winter Garden's stage was enlarged so that the size
of strewn objects was in the same proportion to the human actors as those in a
real dump would be to real cats. A whispered suggestion of "plot" was superim-
posed on the Eliot sketches: an aged puss named Grizabella (Betty Buckley),
mourning past possibilities in her hapless present with the haunting ballad
"Memory," is magically endowed with new life by sage Old Deuteronomy (Ken
Page) in another sphere beyond the Heaviside Layer. But the main business of
THE SEASON IN NEW YORK 1 1
this theme musical was to fill its theater with essence of Cat with a capital C (the
word is always capitalized in the Eliot poems) in the many personalities of the
agile ensemble featuring such as Timothy Scott (Mistoffolees), Terrence V.
Mann (Rum Tum Tugger), Stephen Hanan (Growltiger) and Bonnie Sim-
mons (Jellylorum). Under Nunn's direction, Cats was a live wire crackling with
cat-fur electricity of humor and style.
The Cats company barely had time to read its notices before the arrival from
London of another British Best Play: the late C.P. Taylor's Good in the Royal
Shakespeare Company's production, starring Alan Howard under the direction
of Howard Davies in the role of a German university professor, a veteran of
World War I, who temporizes little by little the Nazi encroachment upon his life
and ideals, until finally he out-Himmlers Himmler. As the playwright saw it, the
act of becoming a Nazi was a bitterly comedic act, however ghastly its eff"ect. The
professor has a mother who is succumbing to senility in a nursing home, which
she detests; he writes a book in which the case for euthanasia is considered; he
is recruited by Eichmann to make reports in this field; then, inadvertently but
inevitably, he loses himself forever in the smoke of burning books, the sound of
breaking glass, the smell of escaping gas. The professor's one clear obsession is
music, and Taylor used snatches of songs, symphonies, etc. to set the mood for
each sequence of Good (a title making reference to '*good" Germans), which was
itself like a musical composition of briefly experienced notes of character (Hitler,
Goebbels, etc.), some recurring and some not. All these notes found their place
in a scheme which brought Howard's portrayal of intellectual-turned-viper to its
climax: a black-uniformed SS officer with pinched features under the peaked cap,
pulling on his leather gloves preparatory to going to see how he can improve
efficiency at Auschwitz. In Howard's memorable performance, he is the principal
victim of his own venomous progress, the clownish point of a horror story.
Still another 1982-83 British Best Play came to Broadway the long way round,
from London's National Theater to Chicago to New York Shakespeare Festi-
val downtown, and finally under the same auspices uptown. Plenty was the star
of Joseph Papp's season, and Kate Nelligan was the dark star of Plenty in the
role of an English Anywoman who, after rising to the demanding occasion of
World War II, disintegrates in parallel with what she sees as her country's decay
in the post-war period into crass commercial, political and social expediency.
Hers is a slow-motion tantrum of selfishness, with Miss Nelligan turning herself
and her character into a thoroughly reprehensible person, and with Edward
Herrmann as her diplomat-husband trying to cope with his wife's mental and
emotional disintegration, symbolizing that of her country. Written and directed
by David Hare, Plenty was not so much a requiem for the England that was, as
a head-on confrontation of what England might become, in a play that was both
arresting and repellent.
The inimitable Foxfire must also be credited to this category of foreign plays,
though it doesn't comfortably fit there. Its authors, though U.S. residents, are
British (Susan Cooper) and Canadian (Hume Cronyn). Its subject — the life and
times of a hardscrabble Georgia hillbilly farm couple — is as American as its
production here on Broadway (but it did have its first production in Toronto).
One thing is perfectly clear, however: it belongs on the 1982-83 Best Plays list
12 THE BEST PLAYS OF 1982-1983
with a script, adapted from material on Appalachia edited by Eliot Wiggin-
ton, that captures and gently celebrates the rough-hewn, indomitable character
of these mountain folk. Yes, there were shining performances: Jessica Tandy as
an aging farm widow clinging to her mountain home and her memories of her
ornery husband (Hume Cronyn), while trying to understand her guitar-playing
son (Keith Carradine). David Trainer's direction maintained the clarity of scenes
which shifted through the present in reality, the present in imagination and
various points of past time, and David Mitchell's mountain-view set was most
appealing. Intercraft and international collaboration was the open secret of
Foxfire' s success, with writing, performances, direction and design serving each
other with conspicuously heartwarming results.
Foxfire and Good and probably even Plenty are comedies in the broadest sense
of that term. In the simple dimension of laughter, however, nothing this season
exceeded Slab Boys, another foreign visitor traveling the long way from Edin-
burgh, London, regional theater and off off Broadway to a small house in the West
Forties. The boys of this John Byrne script's title are wage slaves mixing pigments
in the battered back room of a studio for designers of carpets and wall paper.
Social and educational discards, they are out of reach of even the bottom rung
of any ladder, but they have developed a style of their own and the imagination
to relieve the drudgery and monotony by splashing their walls with color and
their lives with an irrepressible comic spirit expressed in arrogance toward their
superiors and an infinite variety of pranks played on each other. Under Robert
Allan Ackerman's open-throttle direction, in a paint-spattered set designed by the
play's author, the back-room types — bully, gaffer, victim, tea lady, even sex object
— were led through their energetic paces by Sean Penn as the head boy looking
as though he had been born working at his slab. The comedic form was familiar
and the message obvious (youth against the demeaning world), but the laughter
was plentiful in this Scottish version of the tale.
Peter Nichols's Passion (known in London as Passion Play) also concentrated on
the winsome notes at the lighter end of the scale, exploring comic possibilities of
love among characters who are not only of two minds but in some cases also of two
embodiments. In this play by the author of Joe Egg, husband and wife have been
virtually faithful to each other in long and respectable wedlock. The wife has had
one minor fling but is now ready to settle for home and husband, at precisely the
moment that the husband, who has never strayed, is ready to surrender to the
charms of a cheerful young blonde (Roxanne Hart) swinging a tantalizing mini-
skirt. Husband and wife were each played by two performers dressed alike and
working in tandem but not in unison, representing different aspects of each
personality in each circumstance. Bob Gunton and Cathryn Damon were the
long-married couple keeping up appearances, while Frank Langella and E. Kath-
erine Kerr moved about more freely as the adventurous side of their natures, acting
out impulses which the sedate pair might never even dare express in words.
Inevitably, Passion ran down into sitcom after a while; but certainly in its first half
it was subtly and amusingly insightful into some of the ways of affection.
Other British imports to Broadway represented the London stage in an even
more frivolous mood. Nell Dunn's Steaming featured a group of women skinny-
dipping in an onstage swimming pool; but it was more remarkable for the engag-
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TWICE AROUND THE PARK— Anne Jackson and Eli Wallach as wife and
husband in the ''A Need for Less Expertise" segment of Murray Schisgal's
two-part comedy
ing performance of Judith Ivey as an open-hearted, man-loving Cockney lass than
for its dialogue about sex and sexism. Anthony Shaffer's Whodunnit (previously
seen in London as The Case of the Oily Levantine) was a takeoff of the country-
house murder mystery, with a gloomily paneled set by Andrew Jackness and
deceitful costumes by Patricia Zipprodt for a set of duplicitous Agatha-Christie-
type characters confronting one another with chicanery and menace. The carica-
ture was almost too perfect — right down to the identity of the killer — for
Whodunnit to achieve the full maturity as a work of theater reached by the
author's previous Sleuth . As for a third comic entry from Britain, Teaneck Tanzi:
The Venus Flytrap (staging the battle of the sexes as a wrestling match with its
theater, the Nederlander, temporarily converted into a wrestling arena), it visited
THE SEASON IN NEW YORK 15
Broadway for only a single performance, the only foreign play so short-lived this
season (American authors suffered the same fate with two plays — Moose Mur-
ders and Total Abandon — one revival — The Ritz — and three musicals — Cleav-
age, Play Me a Country Song and Dance a Little Closer).
American playwrights kept part of this season's franchise by dominating the
drama category both on and off Broadway, most notably with the Pulitzer Prize-
winning (on the basis of its Boston production) Best Play (in Broadway produc-
tion) 'night. Mother by Marsha Norman, a closeup of a suicide — not the act itself,
but its motivation. A clock on the wall of an appropriately nondescript living-
room-kitchen set (the work of Heidi Landesman) marked time running out
without intermission or faltering of purpose for a daughter (Kathy Bates) who
informs her mother (Anne Pitoniak) that she has made all the necessary arrange-
ments for her carefully considered and planned suicide, which she intends to effect
by pistol shot this very evening. After the older woman's reflexive "No!" came
the pleading "Why?", the question which lay at the heart of this play's paralyzing
matter. Is the intended suicide agonized by disease? (No, but she has had epilepsy,
now under control.) Is she suffering unrequited love? (No, but her husband has
long since left her, and so has her son, a flagrant delinquent.) Is she a lonely
outcast? (No, but she is not "good company" either.) Is she insane? (No, it is her
very inward-probing intelligence which has brought her to this brink.) She is
simply an unremarkable human being who, perhaps through little fault of her
own, was unable to realize any of her modest dreams and now finds her existence
devoid of any pleasure, opportunity or meaning, or the prospect of any. Her life
is empty, and she says "No" to hope. Inside, there remains to her the resolve to
be master of her fate and to make an efficient exit. She asks herself "Why not?",
and the terror of this play took the form of gradually dawning awareness that all
the mother's arguments (and all the reassurances that came most quickly to mind
as we listened to the daughter's conclusions) would be inadequate to deflect her
inexorable purpose. Miss Bates's starring performance was excruciatingly matter-
of-fact in contrast to the subject, while Miss Pitoniak's encompassed both fear and
pity with scarcely a trace of love. Tom Moore's direction earned its share of
applause, maintaining an even texture and total concentration on Miss Nor-
man's moving, disturbing, perplexing theme, in a play which was certainly the
best-of-bests of this 1982-83 New York season.
The standard of drama was also held high by Patrick Meyers in A!'2, a literally
cliff-hanging adventure of two climbers whose place in history has been assured
because they have just scaled the Himalayas' second-highest peak, but whose lives
are in extreme jeopardy because of an accident that has taken place on the way
back, exacerbated by a careless omission in preparing for the expedition. The two
men are trapped on a ledge indenting the sheer ice wall. The team leader (Jeffrey
De Munn), a macho district attorney in civilian life, has neglected to include in
his pack the spare length of rope essential for lowering his teammate (Jay
Patterson), a physicist and liberal humanist, who cannot climb down because he
has broken his leg in a fall to this ledge. The former will have to climb back up
to retrieve discarded rope, if they are both to survive. Ming Cho Lee designed
a shockingly bleak and forbidding mountain soaring out of sight above the rim
of the proscenium. De Munn (and director Terry Schreiber) devised agile means
STEAMING— Linda Thorson, Margaret Whit-
ton and Judith Ivey in the comedy by Nell Dunn
of climbing it that created a compelling illusion within the compact, intermission-
less running time. An ongoing right- vs. -left discussion between the two men
established an emotional context for their adventure in this Best Play, which was
just about as theatrical as the theater can get.
Lanford Wilson turned his attention from the Talley family (Fifth of July,
Talley's Folly, A Tale Told) to the more pressing question of 20th-century reac-
tion to the ever-present possibility of nuclear holocaust. Wilson's Best Play Angels
Fall (transferred to Broadway after its premiere at Circle Repertory) imagines a
nuclear emergency in New Mexico, with the Army hovering overhead in helicop-
ters, sounding the alarm and sending people in the area to shelter. A random
assortment of folks take cover in a mission: a renegade professor (Fritz
Weaver), his supportive wife (Nancy Snyder), a patroness of art (Tanya Bere-
zin) and her tennis-champ consort (Brian Tarantina), an aggressively promising
young Indian doctor (Danton Stone) and a jocular mission priest (Barnard
Hughes) maintaining Catholicism in the desert, even if it means conducting the
Mass in Navaho. On the whole, their individual convictions (the professor's that
his own teaching has lacked validity, the doctor's to become a researcher instead
of a local M.D., the priest's faith in God and man) hold up under the weight of
the emergency. No major detonation takes place, of course (New Mexico is still
there, even in imagination), but there were plenty of bursts of irony and provoca-
tion among the characters, whose development in this dramatic process was given
sharp outhnes in Wilson's writing and Marshall W. Mason's direction.
In a lighter vein of domestic playwriting was Murray Schisgal's Twice Around
the Park, a pair of one-act two-character comedies written, acted (by the
Wallachs, Eli and Anne Jackson) and directed (by Arthur Storch) as episodes in
the ongoing identity clash between men and women, so painful to experience, so
THE SEASON IN NEW YORK 17
amusing to observe. In the first, he was an actor and she was a female cop who
lives upstairs and comes down to give him a summons for disturbing the peace
with his noisy rehearsing — but the lady is distracted by his romantic ploys. In the
second, they were a modern middle-aged couple trying to juice up their drab
marriage with a tape-recording of instructions by a cultist sex guru. Masterfully
constructed and executed, Schisgal's concept resembled those which Neil
Simon has handled so very adroitly in the past, but which eluded Simon*s grasp
in this season's Brighton Beach Memoirs, a series of crayon-colored caricatures
of puberty and other matters in a Brooklyn boyhood, reputedly based somewhat
on the author's own, received by many theatergoers with laughtrack enthusiasm
but leaving others cold. Its major asset was the ingenious performance of the
youth by Matthew Broderick, who appeared off Broadway last season as the
teen-ager in the final segment of Harvey Fierstein's Torch Song Trilogy. In early
June 1982, Fierstein transferred this 1981-82 Best Play (on the basis of its
off-Broadway showing) and his own outstanding performance as the drag queen
in it to Broadway, flavoring the uptown season with its bittersweet comedy and
collecting the 1983 Tonys for both best play and best performance. Young
Broderick, who won the 1983 featured-actor Tony for his performance in
Simon's play, had long since left the cast of Fierstein's.
A real charmer was 84 Charing Cross Road, the true story of pen-pal affection
blossoming between a book-loving New Yorker and the manager of a London
second-hand-book store supplying her literary needs by mail over a period of 32
years, adapted and directed by James Roose-Evans from Helene Hanff s book.
Joseph Maher's restrained, sensitive portrayal of the London bookman, opposite
Ellen Burstyn as Miss Hanff, was one of the season's acting gems. In the play as in
reality, the two never met; by the time she was able to travel to England, her
bookdealer friend had died. For all its virtues, 84 Charing Cross Road suffered
from its determination to remain true to the original, so that an obligatory scene — a
face-to-face meeting, at last, between the two transatlantic friends — was missing.
WilHam Gibson took another look at his The Miracle Worker pair in a 16-
years-after sequel, Monday After the Miracle, with the relationship between now
world-famous Helen Keller (Karen Allen) and her mentor Annie Sullivan (Jane
Alexander) disturbed by the presence and personality of a man (William Con-
verse-Roberts) who arrives on the scene as a literary advisor for Helen and stays
to marry Annie. This emotionally searching play, directed by Arthur Penn who
also did Miracle Worker, was abruptly withdrawn after only 7 performances but
inspired minority partisanship and looks like making a place for itself on the
international theater scene. A less promising future might be predicted for Ed-
ward Albee's 1983 effort The Man Who Had Three Arms, a diatribe about
celebrity delivered in lecture form by Robert Drivas as "Himself under the
author's own direction. Beth Henley followed her prizewinning Crimes of the
Heart with The Wake ofJamey Foster, about another small-town family in crisis
but lacking the deadly aim of her previous work. Jay Presson Allen entered the
lists again with the adaptation of a French comedy by Pierre Barillet and Jean-
Pierre Gredy, A Little Family Business, with Angela Lansbury as a wife taking
over her ailing husband's affairs, this time without the success of the collabora-
tors' previous Forty Carats. Lee Kalcheim's Breakfast With Les and Bess brought
m
the tribulations of a radio talk show couple all the way from OOB to a Broadway
production. Another entry, Almost an Eagle, sputtered briefly with Boy Scout
adventures, while Moose Murders attempted a spoof of murder mysteries for only
a single performance, a fate shared by Total Abandon, with Richard Drey-
fuss as a divorced father who violently abuses his infant son.
If a disastrous musical season can be redeemed at the 1 1th hour by a single show,
then 1982-83 on Broadway can be said to have achieved success through the
arrival in May of My One and Only — but except for the borrowed finery of Cats,
magicianship and revivals, it was a disaster on all other counts. Full-scale musical
productions folded one after another, on occasion after only 1 performance
lambasted by the reviewers, with single-show losses estimated in the millions.
Three modest theme-musical pot pourris started things off inauspiciously in
June: Blues in the Night, sl compendium of 24 mostly blues numbers by various
authors; plus Cleavage and Play Me a Country Song, haplessly folding after only
1 performance each. Next came the disappointing full-scale production of a stage
version of the M-G-M musical Seven Brides for Seven Brothers for a mere 5
performances. A limited return engagement of Vinnette Carroll's inspiring Your
Arms Too Short to Box With God lifted spirits which were destined soon to be
dashed by another disappointing major musical effort, A DolVs Life by Betty
Comden, Adolph Green and Larry Grossman, which imagined Nora's struggle
l»,».-»rV- •.!•>•-• .^J>Ct.<-
CATS COSTUMES— Pictured here are ex-
amples of John Napier's Tony Award-win-
ning costume designs for the British musical,
as follows: far left, on opposite page, the de-
sign for the character Skimbleshanks; left,
for Bombalurina; right, for Growltiger.
Photos of the actors portraying these charac-
ters and wearing these costumes in the show
appear in the frontispiece to this section and
in the Cats coverage in the Best Plays section
to survive on her own in the male chauvinistic 19th century after she walked out
on her husband and slammed the door in Ibsen's play A DolVs House. Co-
produced and directed by Harold Prince, this show was a smoothly crafted failure
of expertise, dismally skillful, vanishing into the mists after only 5 performances
despite its gilt-edged credentials.
The distinguished visitor Cats then lit the lights in the New York musical
theater in October and kept them burning and beckoning. Except for some
handsome revivals, the only response was Merlin , a Doug Henning magic show
in a musical wrapper, with Henning's spectacular illusions coming off far more
believably than his efforts to portray King Arthur's wizard as a young man in
a book and score crammed into the interstices between his magic tricks.
Then in May, to nearly everyone's delighted astonishment, there arrived what
could rationally be labeled a "new" Gershwin musical, My One and Only, taking
its place beside Cats on our list of 1982-83 Best Plays on the basis of its charming
book by Peter Stone and Timothy S. Mayer (parenthetically, the Tony eligibility
committee declared both musicals eligible for nomination in all "new" categories,
excepting only the Gershwin score of My One and Only because it had been
previously used in shows, but not excepting the Eliot verses of Cats because they
hadn't). The musical's joyful presence was all the more uplifting because it was
so unexpected. When My One and Only began its tryout engagement in Boston
20 THE BEST PLAYS OF 1982-1983
in February, it was billed as "a new production of George and Ira Gershwin's
Funny Face,'' with a new book and appropriate numbers from other shows
augmenting the Funny Face score. Initial reaction was mixed, but instead of
saying die the participants went to work to develop their show. The supremely
accomplished librettist Peter Stone came in to work on the book about the
romance between a boyish 1920s aviator (who is going to fly the Atlantic non-stop
solo in what looks like a Ryan monoplane) and a wide-eyed flapper celebrated
for having swum the English Channel. The star and co-choreographer Tommy
Tune, whose current credits include no less than the direction of the long-run hits
Nine and Cloud 9, took over the staging with his colleague Thommie Walsh, and
other show business friends-in-need like Mike Nichols were said to have been
helpful.
Thirteen weeks and an estimated $4.5 million later, My One and Only opened
on Broadway — a spectacular surprise hit, remarkable not only in that each and
every department was worthy of the exhilarating Gershwin tunes, but also that
the many individual contributions had been brought together into a seamlessly
unified whole. As the gangling aviator. Tommy Tune was an engaging presence,
and of course an absolutely superb dancer. Twiggy showed herself capable of
playing Ginger Rogers to his Astaire in both song and dance, with a twinkle in
her eye that would have excused much, had there been anything to excuse. The
Stone-Mayer book was a musical comedy masterpiece — not a developed theme,
or a "play with music," or an opera manque, but a musical comedy honoring its
glorious form like 42nd Street, stylishly warm and lighthearted, unselfconscious
except in the service of wit, tongue sometimes inimitably in cheek but taking pains
to avoid pastiche, all in fun and quite a trick if you can make it work. The
Tune- Walsh dances, showing off" Tune's limber limbs and the close-order work
of a lively chorus, were also masterful. The attractive cardboard-cutout scenery
by Adrianne Lobel and flapper-era costumes of Rita Ryack contributed to the
merriment, as did the supporting performances in every instance, particularly
those of Charles "Honi" Coles matching wits and taps with Tommy Tune, Denny
Dillon as a slangy but cherubic grease monkey, Bruce McGill as a deep-dyed
villain, the New Rhythm Boys (David Jackson, Ken Leigh Rogers and Ronald
Dennis) setting the show's pace and the Ritz Quartette echoing its spirit with
sweet harmonies. Tommy Tune's entire cohort put My One and Only right up
there alongside other memorable Gershwin musical comedies, and they looked
for all the world as though they were having fun doing it.
But before the month of May and the season ended, Broadway was to suff*er
still another major musical disappointment. Much was expected of Dance a Little
Closer, an updated musical version of Robert E. Sherwood's Idiot's Delight, with
book, lyrics and direction by Alan Jay Lerner. The Charles Strouse score seemed
perfectly adequate, and Len Cariou played Harry, the American hoofer, as
though he were testing the tensile strength of the character, but the show around
him could not find its feet or settle on an approach to its tale of the international
set awaiting the beginning of a new World War in a luxury Austrian resort hotel.
At any rate. Dance a Little Closer closed after only 1 performance, an expensive
(in wasted talent as well as cost) debacle.
The revue form made its appearance twice this season on Broadway, in Rock
'n Roll: The First 5,000 Years, a show which promoted that musical genre with
ON YOUR TOES — Lara Teeter and Natalia Makarova in the "Slaughter on
Tenth Avenue" ballet in the Tony Award-winning revival of the Rodgers and
Hart musical, directed by co-author George Abbott
60 — count 'em, 60 — musical numbers; and The Flying Karamazov Brothers, a
variety show of juggling, comedy and other displays at the Ritz Theater, newly
refurbished for legitimate stage use. Broadway theaters also housed a number of
one-man concert-style shows during the year, among them those of Barry
Manilow, the pop singer; Charles Aznavour, the French balladeer; and Herman
van Veen, the Dutch comedian. And internationally renowned Marcel Mar-
ceau paid Broadway a visit with a program which included half a dozen new
pantomimes among the Bip and other characterizations in his famed repertory.
Here's where we list the Best Plays choices for the top individual achievements
of the season on and off Broadway. In the acting categories, clear distinction
among "starring," "featured" or "supporting" players can't be made on the basis
of official billing, which is as much a matter of contracts as of esthetics. Here in
these volumes we divide acting into "primary" and "secondary" roles, a primary
role being one which might some day cause a star to inspire a revival in order
to appear in that character. All others, be they vivid as Mercutio, are classed as
secondary. And we have an example this season of how fine even this line must
sometimes be drawn. Kathy Bates and Anne Pitoniak are equally challenged and
equally achieve in the two roles of 'night, Mother; but, being convinced that no
one would revive this outstanding play in order to appear in the latter's role, we
have categorized it as secondary to the other's primary. In any event, both
superbly gifted actresses appear among our best selections below.
Furthermore, our list of individual bests makes room for more than a single
choice when appropriate. We believe that no useful purpose is served by forcing
ourselves into an arbitrary selection of a single best when we come upon multiple
examples of comparable quality. In that case we include them all in our list.
Here, then, are the Best Plays best of 1982-83:
22 THE BEST PLAYS OF 1982-1983
PLAYS
BEST PLAY: 'night. Mother by Marsha Norman
BEST FOREIGN PLAY: Foxfire by Susan Cooper and Hume Cronyn
BEST REVIVAL: A View From the Bridge by Arthur Miller, directed by Arvin
Brown
BEST ACTOR IN A PRIMARY ROLE: Hume Cronyn as Hector Nations in
Foxfire \ Alan Howard as Haider in Good
BEST ACTRESS IN A PRIMARY ROLE: Kathy Bates as Jessie Gates in 'night,
Mother \ Jessica Tandy as Annie Nations in Foxfire
BEST ACTOR IN A SECONDARY ROLE: Barnard Hughes as Father William Doherty
in Angels Fall; James Russo as Raul in Extremities
BEST ACTRESS IN A SECONDARY ROLE: Anne Pitoniak as Thelma Gates in 'night,
Mother and in the "Lamps" segment of Talking With
BEST DIRECTOR: Robert Allan Ackerman for Extremities and Slab Boys
BEST SCENERY: Ming Gho Lee for K2
BEST COSTUMES: Patricia Zipprodt for Alice in Wonderland and Whodunnit
MUSICALS
BEST MUSICAL: My One and Only
BEST BOOK: My One and Only by Peter Stone and Timothy S. Mayer
BEST MUSIC: Andrew Lloyd Webber for Cats
BEST LYRICS: Trevor Nunn (adaptor) for Cats
BEST REVIVAL: On Your Toes by George Abbott, Richard Rodgers and Lorenz
Hart, directed by George Abbott
BEST ACTOR IN A PRIMARY ROLE: Tommy Tune as Gapt. Billy Buck Ghandler
in My One and Only
BEST ACTRESS IN A PRIMARY ROLE: Twiggy as Edith Herbert in My One and
Only
BEST ACTOR IN A SECONDARY ROLE: Gharles "Honi" Goles as Mr. Magix in My
One and Only
BEST ACTRESS IN A SECONDARY ROLE: Betty Buckley as Grizabella in Cats;
Denny Dillon as Mickey in My One and Only
BEST DIRECTOR AND CHOREOGRAPHER: Thommie Walsh and Tommy Tune for
My One and Only
BEST SCENERY: Adrianne Lobel for My One and Only
BEST COSTUMES: John Napier for Cats; Rita Ryack for My One and Only
/
m
%.
^A
-\
LITTLE SHOP OF HORRORS— EWen Greene (right) as Audrey, in the
presence of her namesake, the man-eating plant Audrey II (left), in the Critics
Award-winning musical
Off Broadway
It's a good thing that Joseph Papp and his New York Shakespeare Festi-
val took part in welcoming the British visitors to the smaller New York play-
houses, because it resulted in his having a lion's share — what else — of the off-
Broadway year's major achievements. First he brought in David Hare's
Plenty (described in the previous section of this report) which had been produced
at London's National Theater and went on to Broadway after its Public The-
ater engagement. He then made an exchange agreement with the Royal Court
Theater which brought over their production of Caryl Churchill's Top Girls and
sent over New York Shakespeare's subsequent production of a new Thomas
Babe play. Miss Churchill is the author of the long-running Best Play Cloud
9, a comedy of sexual sleight-of-hand, and it's clear in her subsequent Top
Girls that she is a player of games onstage. The game in the first act of this new
one is an all-female dinner party brimming with philosophical observations
among guests including famous women of history like Pope Joan and Dull Gret.
But the name of the game in her second act is Theater with a capital T in a
confrontation between two sisters, one of whom has risen to high-gloss success
24 THE BEST PLAYS OF 1982-1983
as the head of an employment agency in London, the other remaining a country
drudge cleaning other people's houses for a Hving. These women are electrifyingly
symbolic of major social currents, with neither given an edge by the author. The
ambitious sister has earned her success and has a right to it, but the drudge and
the admittedly unpromising child she is raising are also human beings — and as
in the case of Willy Loman, some attention must be paid. An American cast
replaced the Royal Court cast in Top Girls in mid-season, without loss of momen-
tum. Once past its forgettable dinner party, this Churchill script rivaled anything
in Plenty and the other off-Broadway British Best Play, Simon Gray's independ-
ently-produced Quartermaine's Terms (described in detail in the Best Plays sec-
tion of this volume). Furthermore, Joseph Papp punctuated his season in late May
by bringing over the London production of Miss Churchill's Fen , another play
of strong imagination and socioeconomic convictions, telling of the hard lives of
rural folk in an outlying district and conferring on its author the very rare, if not
unique, distinction of having three oflf-Broadway productions running simultane-
ously.
We must take pains to explain what we mean by "off Broadway." Its border
lines are smudging at both the Broadway and off-off-Broadway ends, as most
other publications including Variety and the New York Times apply the term
loosely, sometimes to plays that are clearly OOB (weekend or Wednesday-to-
Saturday performances only, reduced ticket prices, Equity concessions) and fre-
quently to "mini-contract" OOB productions (Equity concessions and closed-end
engagements). We cannot draw indelible lines, but we must try to distinguish
between professional and experimental categories; between what is probably a
work-in-progress which may itself evolve as it rises to a higher level of commit-
ment, and what is probably a "frozen" script facing the world for better or for
worse as a completed work in production or publication. Only the latter is
regularly considered for Best Play designation, for obvious reasons. Full off-
Broadway plays and musicals are thus ehgible for Best Play designation on the
same terms as those classified under the Broadway heading, whereas works-in-
progress are not.
By the lights of these Best Plays volumes, an off-Broadway production is one
a) with an Equity cast b) giving 8 performances a week c) in an off-Broadway
theater d) after inviting comment by reviewers on opening nights. And according
to Paul Libin, president of the League of Off-Broadway Theaters, an off-Broad-
way theater is a house seating 499 or fewer and situated in Manhattan outside
the area bounded by Fifth and Ninth Avenues between 34th and 56th Streets, and
by Fifth Avenue and the Hudson River between 56th and 72nd Streets.
Obviously, we make exceptions to each of these rules; no dimension of "off'
or "off off' can be applied exactly. In each Best Plays volume we stretch them
somewhat in the direction of inclusion — never of exclusion. The point is, off
Broadway isn't an exact location either geographically or esthetically, it's a state
of the art, a level of expertise and professional commitment. In these Best Plays
volumes we'll continue to categorize it, however, as accurately as we can, as long
as it seems useful for the record, while reminding those who read these hues that
distinctions are no longer as clear as they once were — and elsewhere in this
volume we publish the most comprehensive list of 1982-83 off-off-Broadway
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OFF-BROADWAY DUOS
Below, Joe Sears and Jaston Wil-
liams as two of the many charac-
ters they portray in Greater Tuna,
comedy about a small Texas town
Above, Jeffrey Keller and Mara Beckerman in a
scene from the musical Charlotte Sweet
productions anywhere, compiled by Camille Croce, plus a review of the season
OOB by the incomparably well qualified Mel Gussow.
This said, let us record that 1982-83 production of new scripts off Broadway
continued at about last year's level (see the one-page summary of the off-Broad-
way season accompanying this report). There were 59 as compared with 58 and
2 return engagements in 1981-82. The 1982-83 contingent comprised 39 Ameri-
can straight-play programs, 7 musicals and 13 foreign plays, as compared with
45-9-7, 33-14-8, 39-7-12 in the past three seasons and the peak 38-15-12 of 1979.
In addition to the 59 abovementioned, there were 5 revues, 36 revivals and 8
specialties, making a grand total of 108 programs presented off Broadway during
the past twelve months.
The standard-bearer for domestic playwriting was William Mastrosimone's
Best Play Extremities, with Susan Sarandon as a winsome blonde who manages
to overpower a would-be rapist (James Russo), trusses him up and coolly consid-
ers torturing and destroying him. Tautly directed by Robert Allan Acker-
man, Mastrosimone's second New York production (his first was The Wool-
gatherers) raised provocative questions within the melodrama, questions about
the failure of the intended victim's friends to offer appropriate support and
sympathy, distrust of the law's ability to dish out punishment, fear of letting the
attacker go, unwarranted shame and warranted fury at being demeaned as a
woman and as a human being.
THE SEASON IN NEW YORK 27
Extremities stood taller than other American scripts off Broadway this season,
but it did not stand alone. David Mamet's Edmond examined in even more varied
detail the dark side of human nature, in the decline and fall of a middle-class
family man who wilfully immolates himself in the nighttime evils of Manhattan
streets, participating finally in brutal murder and sodomy. Also in independent
production, John Ford Noonan's Some Men Need Help described an attachment
between two ill-matched men (as the women were ill-matched in the author's
previous A Coupla White Chicks Sitting Around Talking), with the older (Philip
Bosco) helping the younger (Treat Williams) fight alcoholism. On the lighter side,
A.R. Gurney Jr.'s The Middle Ages reviewed the past few decades of WASP high
life in a country club setting through the antics of a black sheep (Jack Gil-
pin) getting his kicks from disrupting family rituals. And the tour de force Greater
Tuna by Jaston Williams, Joe Sears and Ed Howard took an affectionate view
of a small Texas town with a host of local characters all played by the Messrs.
Williams and Sears.
Among off Broadway's producing organizations, Circle Repertory Com-
pany turned its season into an opportunity for some of the contemporary theater's
clearest voices to be heard. Jules Feiffer's A Think Piece, about a family's subsur-
face stresses, played the Circle in June and July; then in October a new cycle of
plays began with Lanford Wilson's Best Play Angels Fall (described in the previ-
ous section of this report) which later moved uptown for further acclaim includ-
ing a Tony nomination. The cycle continued with Michael Cristofer's Black
Angel, a probe of Nazi war guilt; A.R. Gurney Jr.'s What I Did Last Sum-
mer, about a youth constrained by his WASP environment; Corinne Jacker's
Domestic Issues, taking another look at the 1960s radicals in today's light; and
Sam Shepard's Fool for Love, an abrasively comic lovers' meeting that was more
of a collision than an embrace. And Circle Rep articulated the works not only
of these veteran American playwrights but also of the young people's one-actors
chosen by the Dramatists Guild Foundation in its second annual Young Play-
wrights Festival, a contest which brings to light and encourages writing talent
among teens and sub-teens. This Circle Rep-Dramatists Guild program received
a special citation from the New York Drama Critics Circle in the annual voting
for the season's bests.
Manhattan Theater Club's recent concentration on the works of foreign au-
thors lapped over from last season with the presentation in June of Simone
Benmussa's The Singular Life of Albert Nobbs, based on a George Moore tale of
a woman posing as a man in order to make something of herself in the sexually
restrictive Ireland of the 1860s. There followed at MTC a season weighted with
American playwrights, beginning with a script selected by the American Theater
Critics Association as an outstanding cross-country accomplishment, featured in
the 1981-82 Best Plays volume: Talking With, a collection of striking character
monologues written under the nom de plume "Jane Martin," with a truly remark-
able ensemble of actresses (including Anne Pitoniak) repeating the roles they
created in the original Actors Theater of Louisville production. MTC continued
with a new Jean-Claude van Itallie version of Chekhov's Three Sisters and later
a showcase of van Itallie one-acters, Early Warnings \ Vaughn McBride's Elba,
about the plight of the elderly; John Olive's Standing on My Knees, telling of a
THE MIDDLE AGES— Jack Gilpin, Jo Henderson, Andre Greg-
ory and Ann McDonough in the comedy by A.R. Gurney Jr.
poet's schizophrenia; and three one-act showcases for playwrights and directors,
Triple Feature. Also embedded in the MTC schedule were the British plays
Summer, Edward Bond's reflections on the Nazi occupation of the Balkans, and
Catherine Hayes's Skirmishes, a stark conflict between two sisters quarreling over
their duty to their dying mother. This season the MTC raised its Upstage presen-
tations from off'-off'-Broadway to off'-Broadway status equal to those in its Down-
stage facility, thereby considerably increasing the scope of its major activities.
In the wake of its memorable 1981-82 Best Play and Critics and Pulitzer
Prizewinning A Soldier's Play, The Negro Ensemble Company busied itself with
a one-act play program, About Heaven and Earth, staged by the group's artistic
director, Douglas Turner Ward, and including a work of Ward's own, Re-
deemer, in which an assortment of individuals prepares for Judgment Day, each
THE SEASON IN NEW YORK 29
in his or her own fashion. The NEC schedule also took in Paul Carter Harri-
son's Abercrombie Apocalypse, pitting the black caretaker of a vacated mansion
against the son of its late owner, an allegory of evil; and Ray Aranha's Sons and
Fathers of Sons, about the travails of student, professor and sharecropper's son
in a small Mississippi town from 1943 to 1960. NEC peaked in May with Gus
Edwards's Manhattan Made Me, the adventures of an out-of-work art director
(played by Eugene Lee) in the Big Apple, directed by Ward and viewed through
a comic lens.
Playwrights Horizons, which last season came up with three outstanding off-
Broadway offerings including a Best Play, barely got into the game this year with
Tom Cone's Herringbone (a play with songs, with David Rounds playing all ten
roles), the co-production of Ronald Ribman's Buck (with Priscilla Lopez in an
indictment of cable TV as an exploiter of violence) and a William Finn musical
that didn't get past its previews.
In July, as a sort of afterthought to 1981-82, Joseph Papp presented the
interesting Des McAnuff musical The Death of Von Richtofen as Witnessed From
Earth , the Red Baron's life and times presaging the yearning for a larger-than-
life-sized leader. Besides the aforementioned British entries, Papp's eclectic
schedule also took in a revival of Hamlet with an actress, Diane Venora, in the
title role, and the new Thomas Babe comedy — Buried Inside Extra — with an
all-star cast under Papp's direction playing newsroom types in the twilight of
their paper, the show which was exported to the Royal Court in London for six
weeks in exchange for Top Girls.
Aside from its cabaret and Women's Project programs (see their listing in the
Plays Produced Off Off Broadway section of this volume), American Place made
the scene this season only with the co-production of Buck, plus James De-
Jongh's Do Lord Remember Me, whose cast headed by Frances Foster repeated
a 1930s Federal Theater project recording first-hand memories of slavery in the
United States. T. Edward Hambleton's Phoenix Theater, alas, made a final exit,
cutting short its projected three-play season — and ceasing to function altogether
— after the short run of Two Fish in the Sky, a British play about a wily Jamaican
thwarting the authorities' efforts to deport him from England.
Among highlights in independent off-Broadway production were Baseball
Wives by Grubb Graebner, looking at the tribulations of three wives of baseball
superstars from opening day through the World Series; and Poppie Nongena, with
an imported cast interpreting a Sandra Kotze-Elsa Joubert play with songs based
on the latter's book about a South African girl progressing with dignity from age
13 to age 36 through the pitfalls of apartheid. An English play with music,
Lennon, celebrated the person and accomplishments of that widely admired
member of the Beatles, while Canadian sources contributed a farce about a female
author of romantic novels. Nurse Jane Goes to Hawaii. Other subjects under
scrutiny on the off-Broadway circuit this season included the Booth brothers and
the Lincoln assasination (Booth), the life of Lewis Carroll (Looking-Glass),
doomsday in New York (Divine Hysteria), Toulouse-Lautrec and friends (Jane
Avril), a D.H. Lawrence novella, adapted by Allan Miller, about a young man's
impact on the lives of two women (The Fox, presented on the Roundabout's
schedule), blue movies (Inserts), a 17th century Mexican playwright-poet (The
EDMOND — Laura Innes and Colin Stinton, a knife gleaming
faintly in his hand, in a scene from David Mamet's drama
Price of Genius), Benjamin Franklin (in Karen Sunde's Balloon on CSC's sched-
ule), a 1930s stage star (Penelope), the actual heroics of a Jewish woman battling
the Nazis (Hannah), a centenarian (played by Milton Berle in Goodnight,
Grandpa), Communist disillusionment (Out of the Night), a sendup of big-time
TV (in Shel Silverstein's Wild Life, a program of one-acts whose centerpiece, The
Lady or the Tiger Show, reenacted that timeless cliff-hanger as a Houston As-
trodome spectacular with full TV coverage); and, again from London, homosex-
ual men in love (Royce Ry ton's The Other Side of the Swamp) and the club life
of London's black youths (Mustapha Matura's Welcome Home Jacko in the
Quaigh Theater's imported Black Theater Cooperative production).
Off Broadway enjoyed a substantial musical season. Little Shop of Horrors
opened early, stayed on and carried oflf the Critics Award for best musical, the
first such they have voted in three years in their exotic system of proportional
consensus. With book and lyrics by Howard Ashman and music by Alan
Menken, this show was based on a Roger Corman horror film about a flytrap-type
plant which grows so formidably large that it's finally able to ingest a whole
human being. The score and performances (led by Lee Wilkof as the florist's
assistant who grows the monstrous plant) were amiable in definite contrast, under
Ashman's direction, to the plant itself, "Audrey II," the bloodthirsty star of this
outrageous tale. Audrey II was designed (we presume) and manipulated by
puppeteer Martin P. Robinson to gobble up everything that comes near it, includ-
ing the inoffensive heroine of the piece (Ellen Greene), the "Audrey" after whom
THE SEASON IN NEW YORK 31
this fatal foliage is named. Little Shop of Horrors was a very good thing in a small
package, snapping up the Critics Award like Audrey II devouring a juicy dentist,
under the very noses of the two large-package musicals uptown.
A heartwarming echo of the music hall in turn-of-the-century England also
found a place on the off-Broadway musical scene in Charlotte Sweet (book and
lyrics by Michael Colby, music by Gerald Jay Markoe). Snoopy, a musical with
Charles M. Schulz's "Peanuts" comic strip characters, a score by Larry
Grossman and Hal Hackady and David Garrison playing Charley Brown's quix-
otic pet, charmed audiences all season long, though not with the irresistible force
of its Clark Gesner predecessor and Best Play You're a Good Man Charlie
Brown. And as previously mentioned. The Death of Von Richtofen as Witnessed
From Earth was a stimulating musical fantasy. Three other 1982-83 off-Broad-
way musicals — A Drifter, the Grifter & Heather McBride (a romantic triangle).
Life Is Not a Doris Day Movie (performers seeking that first big break) and Broken
Toys (love brings a toy soldier to life) — failed to make the grade. But four out
of seven wasn't bad, especially when you added in Martin Charnin's hit cabaret
musical Upstairs at O'Neals', a grab bag of witty and acerbic musical comments
written by a multitude of contributors and performed by an energetically talented
cast; plus the cabaret musical Forbidden Broadway at Palsson's, a send-up of past
and present pretensions in the big theaters, which opened as an OOB offering last
year but soon raised its status and settled in for a long off-Broadway run.
The specialty programs, always an important element of an off-Broadway
season, ranged through an evening of recitation by Celeste Holm, Wesley
Addy and Gordon Connell of excerpts from the works of stage authors ( With
Love and Laughter); Jeff Daniels as the quadriplegic in an adaptation of Dalton
Trumbo's famous Johnny Got His Gun: a one-man portrait gallery by Edward
Duke of Bertie Wooster, his gentleman's gentleman and ten other P.G.
Wodehouse characters in Jeeves Takes Charge; Tennessee Williams excerpts
(a/k/a Tennessee) and Wilfrid Owen excerpts (Anthem for Doomed Youth). It
included the sublime (Orson Bean's adaptation of A Christmas Carol) and ended
with the absurd (in a non-pejorative sense) in another of Richard Foreman's
assemblage of stage effects— dramatic, comic and musical — in this case express-
ing some of his ideas about different cultures, as boisterous as its title Egyptology:
My Head Was a Sledgehammer.
Viewed in twelve-month perspective, the 1982-83 off-Broadway season was
eminently rewarding. There was no dog-wagging in the smaller playhouses as in
some previous seasons, but the tail end of the professional New York theater was
in continuous and vigorous action, resulting in four Best Plays — Plenty, Ex-
tremities, Angels Fall and Quartermaine's Terms — and the clever Little Shop of
Horrors. For good measure, there were Top Girls, Edmond, Talking With, The
Middle Ages, Greater Tuna, Upstairs at O'Neals' and Circle Rep's barrage of
American scripts — a measure in which entertainment was mixed generously with
accomplishment.
X
A VIEW FROM THE BRIDGE— Tony Lo Bianco, Rose Gregorio, Saundra
Santiago, James Hayden and Alan Feinstein in a scene from the Broadway
revival of Arthur Miller's play
Revivals on and off Broadway
Arthur Miller, George Abbott, Richard Rodgers and Lorenz Hart, George and
Ira Gershwin, Noel Coward, George S. Kaufman and Moss Hart, Oscar Ham-
merstein H and Jerome Kern — these were some of the authors featured promi-
nently on the marquees around New York this season, together with — of course
— William Shakespeare, Moliere, Ibsen, Chekhov and Gilbert and Sullivan. In the
protracted 1982-83 scarcity of new musical get-up-and-go, Abbott himself di-
rected a spirited reincarnation of his and Rodgers and Hart's On Your Toes, a
Tony Award-winning revival starring Tony Award-winning Natalia
Makarova as the prima ballerina in that show's choreography by the late, great
George Balanchine, including the famous "Slaughter on Tenth Avenue." This
outstanding show, whose company included George S. Irving and Dina Mer-
rill, overrode an unfavorable New York Times review, demonstrating that it
could be done, and went on to fame and fortune at a $40 top. Abbott is in his
middle 90s with at least 1 10 shows on his list of author's and director's credits
THE SEASON IN NEW YORK 33
(and this year he received Kennedy Center Honors for "hfetime achievement in
the theater," which is putting it mildly). Here he enjoyed the help of younger men
hke 88-year-old Hans Spialek, who recreated his original orchestrations and
arrangements. This ebullient On Your Toes was indeed a multifaceted triumph.
The Gershwins also made Broadway this season — thrice, each time in a big
way. Their immortal Porgy and Bess came to Radio City Music Hall in its uncut
version, in a production so impressively suited to the dimensions of the Music
Hall stage that it may have been bigger (it was observed) than the real Catfish
Row locale for this folk opera. With a host of gifted j>erformers sharing the
responsibilities of the leading roles in a huge cast, this Porgy and Bess was a
resounding Gershwin spectacle, followed a month later by the musical phenome-
non My One and Only, the **new" Gershwin musical described in a previous
section of this report. Its Gershwin score was assembled from Funny Face and
other stage and screen productions, and a listing of these sources appears with
the synopsis of My One and Only in the Best Plays section of this volume.
The Gershwins also provided the theme music for the 1983 Tony Awards
ceremonies, at which they received an additional fanfare with the changing of the
name of Broadway's vast Uris Theater, home of the Theater Hall of Fame,
henceforth to be called the Gershwin Theater. At the time of its renaming, Jerome
Kern and Oscar Hammerstein II were also being honored within the Gershwin
Theater's walls with a lavish production of their own renowned Show Boat,
revived full-scale under the direction of Michael Kahn in the Houston Grand
Opera production imported to Broadway, with Donald O'Connor presiding as
Cap'n Andy. The sweetest of memories was awakened with such songs as "Only
Make Believe," "Why Do I Love You," "Bill" (with its P.G. Wodehouse lyric)
and the organ timbre of "Ol' Man River" sung by Bruce Hubbard.
On the straight-play side of the revival season, Arthur Miller's A View From
the Bridge regenerated its power in an Arvin Brown-staged Long Wharf The-
ater production brought to Broadway with Tony Lo Bianco in a dynamic por-
trayal of the Brooklyn longshoreman passionately obsessed by the niece he and
his wife have raised like a child of their own. This Miller work appeared originally
in September 1955 as a one-acter and Best Play of its season, then was e.xpanded
to full length to be produced first by Peter Brook in London the following year
and then by Ulu Grosbard off Broadway with Robert Duvall in Januar>- 1965 for
780 performances. This season's A View From the Bridge was billed in some of
its promotion as "a new play," and in some ways indeed it was: new to Broadway,
staged and acted with new insights, yielding not merely a reproduction but new
values of compressed emotion.
Herman Wouk's The Caine Mutiny Court-Martial also rekindled its dramatic
fires in revival under Arthur Sherman's direction at Circle in the Square, with
Michael Moriarty as the arrogant, crumbling Lt. Cmdr. Queeg so indelibly
branded in memorv by Lloyd Nolan, who created the role onstage, and Hum-
phrey Bogart, who took it to the screen. Perhaps there was little that Mori-
arty could add to their portrayals, but he did not disappoint, nor did John
Rubinstein in the Henr\- Fonda role of attorney for the defense.
The Broadway revival schedule for 1982-83 also included, on the drama side,
a new Arthur Kopit adaptation of Ibsen's Ghosts, starring Liv Ullmann. On the
NOEL COWARD
REVISITED—
Above, George C. Scott
in Present Laughter;
right, Elizabeth Tay-
lor and Richard Bur-
ton in Private Lives
lighter end of the scale, Noel Coward won one and lost one this season. George
C. Scott's interpretation, both as actor and director, of the life and loves of a
matinee idol in a Circle in the Square revival of Present Laughter was one of the
year's major assets, opening in July and so tenaciously popular that it forced the
Circle to open its fall season at the Plymouth while its own house was so pleas-
antly occupied. On the other hand, the widely-promoted revival of Private
Lives, starring those two vividly public-lived personalities Richard Burton and
Elizabeth Taylor, was unable to get into step with the style and mood of this
brilliant Coward duologue, though as a kind of romp it attracted star-struck,
curiosity-seeking customers at a $45 top.
Kaufman and Hart were much better served by a high-spirited, star-studded
reproduction of You Can't Take It With You directed by Ellis Rabb (who did the
same for the 1965 hit revival of this play), with Jason Robards at the head of an
exceptionally gifted company in the many individualistic roles of this engaging,
stimulating and durable comedy. Shakespeare was also exceptionally well served
by his home-town devotees, the Royal Shakespeare Company of Stratford-on-
Avon and London, in a highly developed and polished production of AWs Well
That Ends Well, presented as though the action of this 1603 comedy were taking
place in the Edwardian era, and staged by Trevor Nunn, Royal Shakespeare's
joint artistic director, whose Cats was already a bright fixture of the season.
Moliere too found a place on the sunny side of Broadway with Circle in the
Square's The Misanthrope with Brian Bedford, Carole Shelley and Mary Beth
Hurt under Stephen Porter's direction. Elsewhere, Broadway revival production
took in Ugo Betti's The Queen and the Rebels, with Colleen Dewhurst, about a
group of travellers detained by a revolution in a small country; and the Eva Le
Gallienne-Florida Friebus 1932 Alice in Wonderland with Miss Le Gallienne
THE SEASON IN NEW YORK 35
directing and playing the White Queen, and with John Lee Beatty's scenery and
Patricia Zipprodt's Tony-nominated costumes recreating the Tenniel-drawing
"look." And a restaging of Terrence McNally's Turkish-bath farce The Ritz
survived for only one performance as an adjunct of the disco Xenon, formerly
Henry Miller's Theater.
The revival-producing organizations, which year after year make off Broadway
a treasure trove of the theatrical past, hardly broke stride along the rocky finan-
cial paths of 1982-83. "The high point of the 1982-83 season as to stage history,'*
theater historian Thomas T. Foose informs us, "was in the summer of 1982 when
one found playing concurrently fully professional productions of two rare plays
by Moliere. At the Delacorte was the Public Theater production of Don
Juan (or as purists have it, Dom Juan). At about the same time, the Round-
about was offering The Learned Ladies (Les Femmes Savantes). Richard Wil-
bur's 1977 translation as The Learned Ladies sparked interest in a Moliere play
long neglected in English. Wilbur's translation has been offered in Cleveland,
Costa Mesa, Denver, Kansas City and last summer in New York. In the United
States, stagings of Les Femmes Savantes prior to 1977 have been very few.
"As to United States stagings of the Moliere Don Juan , the most important
prior to the Delacorte production was that at the Guthrie Theater in Minneapolis
in June of 1981, from which stemmed the Delacorte staging just one year later.
The Donald M. Frame translation, the Richard Foreman direction and settings
and the Patricia Zipprodt costumes were all the same, with modifications, of
course, for the out-of-doors."
Furthermore, John Seitz as Don Juan and Roy Brocksmith as Sganarelle
repeated their Guthrie Theater performances in the Central Park cast. Thus, even
in the area of revivals our cross-country theater plays its vital part, having
previously scaled both peaks of New York's "high point of the 1982-83 season
as to stage history."
Gene Feist's hardy Roundabout Theater Company maintained its customary
high standards, following up The Learned Ladies with a series of works of 20th
century theater, beginning with Wynyard Browne's The Holly and the Ivy (the
American premiere of the 1948 London play about a village minister's troubled
family) directed by Lindsay Anderson. Nicol Williamson colored with his own
brush the Laurence Olivier role of the British music hall comedian in John
Osborne's The Entertainer. And the Roundabout did Brian Friel's 1968 Win-
ners about a loving but ill-fated young Irish couple, and Tom Kempinski's
two-character Duet for One with Eva Marie Saint in the role of the concert
violinist crippled by disease, played on Broadway only last season by Anne
Bancroft. Roundabout Producing Director Feist's former colleague, Michael
Fried, left the group this season, and Todd Haimes joined it as managing director.
The classic mode was well represented on other stages around town. Joseph
Papp's season included A Midsummer Night's Dream in Central Park and
Hamlet at the Public Theater, while Manhattan Theater Club inserted a Three
Sisters in its schedule. Christopher Martin's Classic Stage Company (CSC) distin-
guished itself and its artistic director with Goethe's complete Faust (reputedly the
American premiere of Faust unabridged) translated by Philip Wayne and di-
rected and designed by Martin in two parts, each of which was presented as a
^■r-
X
NOTABLE REVIVALS— ^6ove. Noble Shropshire as Mephisto and Chris-
topher Martin in the title role of Goethe's Faust: below, John Malkovich and
Gary Sinise in True West, the 1980 play by Sam Shepard
THE SEASON IN NEW YORK 37
full-length play. Strindberg (Ghost Sonata), O'Keeffe (Wild Oats) and
Buechner (Danton's Death) were also honored in CSC production.
William Mount-Burke's Light Opera of Manhattan (LOOM) provided its up-
town patrons with new productions of H.M.S. Pinafore, The Gondoliers and
Rudolf Friml's Rose Marie, meanwhile keeping up its 12-month schedule of
Gilbert and Sullivan, Victor Herbert and other operettas. And this year's Acting
Company repertory included Tartuffe along with Shakespeare's seldom-seen
Pericles, Prince of Tyre, plus Samuel Beckett's Come and Go on a one-act pro-
gram with his Play and Krapp's Last Tape. As an extra added attraction, the
Acting Company assembled a group of its alumni for a special production of Marc
Blitzstein's The Cradle Will Rock under the direction of John Houseman, the
group's producing artistic director, who also took center stage to deliver a short
introductory talk at each performance, detailing the colorful origins of this musi-
cal satire on the labor movement which he himself co-produced at the Mercury
Theater in 1938.
Independent production of revivals off-Broadway virtually ground to a halt this
season. A repeat of Donal Donnelly's one-man portrait of George Bernard
Shaw in My Astonishing Self, the 15th anniversary revival of the Jacques
Brel revue at First City and Sam Shepard's True West were the only ones offered
outside organizational shelter — and Shepard's play was in one sense more of a
premiere than a revival. Its first production at the Public Theater in January 1981
was repudiated by its author, who is said to have considered this 1982-83 one
the authentic representation of his script about a loathesome desert rat (repel-
lently personified by John Malkovich) moving in on his respectable screenwriting
brother (Gary Sinise, who also directed this version) and forcing him into an
exchange of personalities. Like other Shepard plays, it managed powerfully ironic
and emotional moments within a showoff kind of theater which thumbs (and in
this case picked) its nose at the audience with a jumble of shock effects and harsh
words.
Anyhow, the off-Broadway revival season provided Shepard, one of our most
prolific and generally admired contemporary dramatists, with a second hearing
for a problematical work, as it has in the past for Tennessee Williams, Arthur
Miller and many others. This is a hugely important asset, nearly equal in long-
term value to the celebration of the recognized historical glories of Shakes-
peare, Moliere, Chekhov, Ibsen and company. Fortunately, our revival stages
remained alert to both these functions in the season of 1982-83.
38 THE BEST PLAYS OF 1982-1983
Offstage
An atmosphere of hard economic times pervaded all areas of the theater in
1982-83. The rumbles of distant financial thunder persisted in news reports of the
drying-up of support from economizing government, foundation and private
sources; of the curtailing of festival and other production schedules at home and
abroad; of the growing scarcity of middle-income backers; of regional theater
shrinkage and the Guthrie Theater's first deficit ($632,000) in 13 years; of the
disappointing audience response to pay-TV's first-ever live broadcast Nov. 5 of
a Broadway show, Sophisticated Ladies, which attracted a mere 60,000 viewers
at $15 apiece from a pool potentially more than ten times that size.
Closer to home and more specifically damaging to the New York theater, T.
Edward Hambleton's noted Phoenix Theater called it quits after 30 years and
more than 100 productions which enlarged the scope of the contemporary stage
in all dimensions. The Phoenix had been a major presence in the not-for-profit
theater with its schedules of mind-expanding imports and important revivals,
sprinkled with new scripts by American dramatists, including Marsha Nor-
man's first play, Getting Out. The Phoenix production of Tolstoi's massive War
and Peace on a tiny uptown stage was a feat of imagination to match Shakes-
peare's Battle of Agincourt at the old Globe, as unforgettable as such other
Phoenix highlights as lonesco's Exit the King, Mary Rodgers's Once Upon a
Mattress, Arthur Kopit's Oh, Dad, Poor Dad, etc., Daniel Berrigan's The Trial
of the Catonsville Nine, Conor Cruise O'Brien's Murderous Angels and David
Berry's G.R. Point, not to mention eloquent homage to Shakespeare, Shaw,
Eliot, Brecht, Chekhov, Ibsen, Marlowe, Moliere, even Boucicault, Gold-
smith and Richard Brinsley Sheridan. The Phoenix was a casualty of general
economic conditions: cuts in its funding from all sectors had stripped it to the
bone, when a seemingly unrelated Wall Street problem caused the cancellation
of an expected corporate grant, a last straw which broke its three-decades-long
spine of production. After only one offering, the Phoenix's 1982-83 season was
cancelled with a finality that included the dissolving of its charter, so that no ashes
remained from which it could rise. Its passing leaves a distressingly empty space
on the New York stage.
As we were going to press with last year's Best Plays volume, a reported rift
between producers and authors widened into a chasm of lawsuits unbridged by
season-long eff*orts to negotiate the diff'erences, still yawning as we sent this
volume to the printer. The men and women who write the plays and musicals,
most of them members of the Dramatists Guild, lease their work for a percentage
of the box office gross laid down in a Minimum Basic Agreement drawn up in
the 1920s: for plays, 5 per cent of the first $5,000, 7.5 per cent of the next $2,000
and 10 per cent thereafter; and for musicals, 6 per cent divided among the
authors. Ownership of the work remains in the hands of the dramatist (unlike
that, say, of the screen writer, who sells his work to the producer outright), who
may continue to lease it again and again for other productions in other places and
circumstances.
For several years in the recent past, representatives of the League of New York
THE SEASON IN NEW YORK 39
Theaters and Producers (the producers' organization) and the Dramatists
Guild have explored the possibility of modernizing the old agreement in line with
changed conditions of the contemporary theater; but, according to Variety, their
discussions ended in an impasse and were broken off in the fall of 1981. Then,
on July 7, 1982, the League filed an anti-trust suit against the Dramatists
Guild in the Federal Court in New York, seeking "injunctive relief to enable
producers to negotiate freely with authors, and to prohibit the Guild from requir-
ing the use of contracts containing minimum terms and conditions, or involving
itself in any way, directly or indirectly, in negotiations between an author and a
producer concerning the terms and conditions for the rights to produce any
author's works." The suit was filed in the name of Richard Barr, president of the
League, and in Variety's estimation "is expected to be prolonged over a number
of years."
The Dramatists Guild "vigorously denied" allegations of anti-trust practises;
and then, in October, League and Guild representatives resumed the discussions
broken off a year earlier, in a new effort to settle their differences, with Variety
reporting that "Many producers and playwrights are unhappy with the lawsuit,
which is seen as a divisive and costly development at a time when existing
economic conditions in legit are heading out of control." These talks broke off
again in February, with no agreement reached and the League suit being pressed.
And then on April 29 the Dramatists Guild's answering volley came: a counter-
suit charging anti-trust violations, filed in Federal Court in New York, naming
as defendants the League, The Shubert Organization, the Shubert Founda-
tion, the Nederlander Organization and, as individuals, Gerald Schoenfeld and
Bernard B. Jacobs (Shubert officers) and James M. Nederlander (but not Richard
Barr, in whose name the League suit had been filed). This counterclaim stated
that the Shubert group (owners of 16Vi Broadway theaters) and the Neder-
lander group (owners of 12 Broadway theaters, two of them in process of renova-
tion) "have control of every facet of theatrical production, and are able to dictate
the positions which the League takes with the Guild in dealing with playwrights"
and have tried to force dramatists to accept "artificially low and non-competitive
levels" of payment for the use of their scripts. A New York Times article reported
that "The Guild, in its counterclaim, takes the position that ... it is in fact the
League and the Shubert and Nederlander organizations who are guilty of anti-
trust violations because they have been bargaining with the Guild for years." At
season's end, this cloud of internecine dissension seemed at its darkest, hovering
low over the New York theater and showing no signs of disappearing any time
soon.
Among the theater's other organizations, the Society of Stage Directors and
Choreographers reached an agreement with the League which runs through
October 1984, granting a small rise in minimum fees to $6,800 for directors and
$5,500 for choreographers, plus non-returnable advances against royalties of
$4,700 and $4,000. Local One of lATSE (the stagehands) negotiated 5, 6 and 7
per cent raises over a period of three years, with weekly wages topping out at
$475.43 to $621.63 for department heads. Actors' Equity Association negotiated
a 21.4 per cent raise in the performers' minimum salaries over a three-year period,
bringing actors' base pay from $575 to $610 weekly in the first year of the new
r^-
•.ar-
)
5
^
:* . 5: •
^
7
.^
.w
SEVEN BRIDES FOR SEVEN BROTHERS— A scene from the short-lived musical
contract, with a corresponding rise in the $385 weekly living expense allotment
for those on tour.
At the Theater Development Fund, which oversees the half-price TKTS
booths, $29-million-a-year important to the theater's finances, Hugh South-
ern resigned his executive directorship to become deputy chief of the National
Endowment and was replaced by Henry Guettel. Drama Desk, an organization
of reporters and editors in the theater field, named Variety's John Madden its
president.
1982-83 was a year of abrasive controversies involving the critics, beginning
with last summer's angry reaction of the Seven Brides for Seven Brothers cast to
Frank Rich's sharply unfavorable review of that short-lived musical, with the
laid-off actors picketing the Times for "killing family entertainment." In March,
however. Rich turned thumbs down on the revival of On Your Toes staged by
George Abbott, but this show turned the tables on him, developing into a solid,
Tony-winning hit over the dead body of his unfavorable review (we hasten to add
that we are describing events here, not pointing the finger; the minority position
is an honorable one, in which every critic ought to find him/herself from time
to time, as we ourselves do this season in the case of Neil Simon's Brighton Beach
Memoirs).
The Times itself was the subject of some criticism for its decision to have
Rich review the musical Merlin on Jan. 31 while that show was still in the
development stage in a long series of preview performances (the Daily News
covered Merlin along with the Times, but the Post held off until the show's formal
THE SEASON IN NEW YORK 41
announcement of its premiere Feb. 1 3). Merlin seemed certainly to have still been
in work on Jan. 31, having recently cancelled four midweek matinees to make
time for introducing new material. But the Times contended that the advertising
and ticket price scale of Merlin suggested that it had gone public, and "Our
responsibility is to our readers. When a show becomes a public event, a good
newspaper ought to cover it." Clive Barnes of the Post took a contrary view: "I
personally deplore the acts of my colleagues. I don't think reviewing a show is
the same as covering a fire." And one of the Merlin producers argued, "We
should be allowed to be reviewed when we think we're ready and not before." This
controversy flared into a meeting of more than 100 producers, managers and press
agents for discussion and protest, without material result.
Taking a last long look over our shoulder at the 1982-83 season in New York,
we are left with the impression that it was a year of growing fiscal concern over
such developments as declining attendance, the $45 Broadway and $22 off-Broad-
way ticket, the $4 million musical, the confrontation of authors and producers
over the distribution of box office receipts. It's sometimes hard to remember that
what we call "theater" in one word doesn't stand or fall, suffer or enjoy, as a unit.
We must continuously remind ourselves that even "Broadway" isn't a single big
business with a lot of branch offices, it is an assembly of separate parts whose
individual condition is of greater importance to the well-being of what we call
"theater" than the sum total of achievement or average condition of the whole.
As we look back on 1982-83, we can see clearly that Cats and Torch Song
Trilogy and My One and Only and 'night. Mother have joined the dance with
Amadeus and 42nd Street and Nine, while off Broadway Extremities and Little
Shop of Horrors and Quartermaine's Terms have come into step with Cloud
9 and The Dining Room — at least for a goodly part of a season, and not forgetting
The Fantasticks way, way out there at the head of the cotillion. We conclude that,
whatever its shortcomings and continuing problems, 1982-83 succeeded in bring-
ing forth for the audience's enjoyment and stimulation a number of impressive
shows — and there's little in "theater" of greater value than that.
42 THE BEST PLAYS OF 1982-1983
OFF OFF BROADWAY
By Mel Gussow
Off off Broadway is an amorphous alternative theater extending throughout
New York City. Increasingly its effect has been national and international, with
a network of theaters, exchanging plays and information with those in New York.
Through the encouragement of such companies as Ellen Stewart's LaMama and
such organizations as the International Theater Institute, American companies
travel to foreign cities and festivals; and we are visited by troupes from Europe,
Africa, South America and the Far East. Typical of this season's international
exchange, Fernando Arrabal, the Spanish exile playwright living in Paris, came
to New York to direct the American premiere of his play Inquisition for the
Puerto Rican Travelling Theater, one of New York's many Hispanic companies.
Companies representing a specific ethnicity or culture are playing a more
significant role in the life of the New York theater — Hispanic, black, Greek, Irish,
Jewish, and, most importantly in the past few years, Asian American. One of the
outstanding non-profit off-off-Broadway companies is the Pan Asian Repertory
Theater, under the artistic direction of its founder, Tisa Chang. The Pan
Asian company has presented plays by Americans of Chinese, Japanese and
Filipino descent and has nurtured an ensemble of actors, directors and designers.
A highlight of the 1982-83 season was the Pan Asian production of Yellow
Fever, a captivating spoof of private-eye mysteries, written by a young Canadian
author, R. A. Shiomi. In all respects, this was one of the Pan Asian's best
productions, and in June the comedy reopened with its original cast for an
extended off-Broadway run. Pan Asian followed Yellow Fever with a lavish
production of Lao She's Teahouse, a socio-historical chronicle of modern China,
and a bilingual production of ^ Midsummer Night's Dream.
Every year there are new companies off off Broadway; and at the same time
other companies, discouraged by economics, decide to curtail operation. To
survive, the theaters need achievement and courage as well as enterprise. Among
the noteworthy long-running companies are the following:
The Ensemble Studio Theater — Along with its regular season of new full-
length plays by member playwrights, this year including Eduardo Machado's
chronicle of Cuba, The Modern Ladies of Guanabacoa, the Ensemble Studio
presents an annual marathon of one-act plays. The 1983 festival was highlighted
by James G. Richardson's Eulogy, Percy Granger's The Dolphin Position, Wendy
Kesselman's / Love You, I Love You Not, Peter Maloney's Pastoral and Willie
Reale's Fast Women. Under the artistic direction of Curt Dempster, the Ensem-
ble Studio also maintains a West Coast branch.
The WPA Theater — This has become a major nurturing ground for new plays
and musicals, having sent Little Shop of Horrors, Key Exchange and Nuts, among
others, into the commercial theater. This season, the WPA introduced Asian
Shade, the latest work by one of its favorite writers, Larry Ketron. This was a
NEW FEDERAL THEATER— William Mooney and Marilyn Chris
in a scene from The Upper Depths by David Steven Rappoport
wistful study of two young recruits coming home before being shipped to Viet-
nam. Varying its repertory, the WPA revived Vieux Carre, elevating that play's
stature among the later works of Tennessee Williams.
The Second Stage — Under the direction of Carole Rothman and Robyn
Goodman, this company is dedicated to rediscovering works of the recent past,
giving a second production to plays that may have failed in their first attempt.
The group also puts on worthy new plays, including, this season, Tina Howe's
Painting Churches, a sensitive contemplation of a daughter's role as an artist
within an artistic family. Donald Moffat, Frances Conroy and Marian Seldes were
the ensemble cast. The Second Stage also gave a first New York platform to Adele
Edling Shank, a California playwright of "hyper-real" theater, as represented by
Winterplay .
The Mabou Mines — This group is a collaborative company of artists, writers,
designers and actors, who interact among the disciplines and studiously avoid any
single artistic leadership. This year various Mabou Mines members created Cold
Harbor, an informative multi-linear exploration of the life and history of Ulysses
S. Grant (featuring the co-author, Bill Raymond, as Grant); a stage version of
Samuel Beckett's story. Company: and Hajj, an abstract synthesis of live theater
and television.
The Ridiculous Theatrical Company — Founded and directed by Charles
Ludlam, who is also the resident playwright and chief clown, the company ended
the season with one of its funniest shows, Le Bourgeois Avant-Garde, which put
44 THE BEST PLAYS OF 1982-1983
Moliere on his avant-garde. Mr. Ludlam wrote and directed the play and also
acted the leading role as a scion of supermarkets who has dreams of being the
Medici of minimalism. As author, he was faithful both to his source and to his
own sense of the Ridiculous.
LaMama Experimental Theater Club (ETC) — For more than 20 years, Ellen
Stewart's LaMama has been a cornerstone of off off Broadway and of the interna-
tional theater, this year welcoming a diverse array of companies from France,
Japan, Italy and South America. Among the home-grown productions were
Jean-Claude van Itallie's The Tibetan Book of the Dead, with an international
company of actors; Elizabeth Swados's Three Travels of Aladdin With the Magic
Lamp; Ping Chong's striking Anna Into Nightlight; George Ferencz's slashing
version of Sam Shepard's The Tooth of Crime; and Andrea's Got Two Boy-
Friends, a touching, collaborative vignette about retardation.
The Performing Garage — This is a way station for experimental companies of
varying coloration, including the resident Wooster Group as well as visitors from
California. Bi-coastal talent included Chris Hardman with his environmental
maze. Artery; Laura Farabough's quizzical Obedience School and Alan and Bean
Finneran's elliptical double bill Voodoo Automatic and Red Rain. Spalding
Gray, a Performing Garage faithful, offered an eight-play retrospective of his
engaging life-is-a-monologue performances.
The Music-Theater Group/Lenox Arts Center — This organization was in resi-
dence at St. Clement's with a revival of Virgil Thomson's opera The Mother of
Us All; Wendy Kesselman's ballad based on the Grimm fairy tale The Juniper
Tree; and Welcome Msomi's spirited African jamboree The Day, the Night.
On weekends at 11 p.m., the Dance Theater Workshop becomes the Economy
Tires Theater, with performance events under the direction of David White. The
group presented The Flying Karamazov Brothers, a troupe of zany jugglers and
clowns, at the Brooklyn Academy of Music (later the Brothers moved to Broad-
way). In its home theater. Economy Tires premiered Foolsfire, an uproarious and
artistic evening of clowning and juggling by Bob Berky, Fred Garbo and Michael
Moschen, and also welcomed Daniel Stein's stylized mime tableau Inclined to
Agree .
Among the other events of note was a New York appearance by the San
Francisco Mime Troupe with a scathing musical satire of American policies in
Central America, Americans, or Last Tango in Huahuatenango . Nicholas
Kazan's chiUing modern Gothic, Blood Moon, was at the Production Com-
pany, along with a late-night collage of the beatnik era called Jazz Poets at the
Grotto . Robert Kalfin's Chelsea Theater Center briefly reappeared, in a co-pro-
duction with Woodie King Jr.'s New Federal Theater, of Steven Rappoport's
nihilistic family comedy The Upper Depths .
The Manhattan Punch Line specializes in comedies from the past, including
works by George S. Kaufman. This season it presented the New York premiere
of Terrence McNally's It's Only a Play, a devastating spoof of make-or-break
Broadway that had originally been intended for Broadway. The off-off-Broadway
season ended with laughter — the First New York Festival of Clown-Theater, five
weeks of first-class tomfoolery.
o
o
o
THE SEASON
AROUND THE UNITED STATES
with
A DIRECTORY OF PROFESSIONAL
REGIONAL THEATER
Including casts and credits of new plays
and
OUTSTANDING NEW PLAYS
CITED BY
AMERICAN THEATER CRITICS
ASSOCIATION
o
o
o
THE American Theater Critics Association (ATCA) is the organization of more
than 250 leading drama critics of all media in all sections of the United States.
One of this group's stated purposes is *To increase public awareness of the theater
as a national resource" (italics ours). To this end, ATCA has cited a number of
outstanding new plays produced this season across the country, to be listed and
briefly described in this volume; and has designated one of them for us to offer
as an introduction to our coverage of 'The Season Around the United States"
45
46 THE BEST PLAYS OF 1982-1983
in the form of a synopsis with excerpts, in much the same manner as Best Plays
of the New York season.
The critics made their citations, including their principal one of Closely
Related by Bruce MacDonald in the following manner: member critics every-
where were asked to call the attention of an ATCA committee to outstanding new
work in their areas. The 1982-83 committee was chaired by Ann Holmes of the
Houston Chronicle and comprised William Gale of the Providence Journal,
Julius Novick of the Village Voice, Damien Jacques of the Milwaukee Journal,
Sylvie Drake of the Los Angeles Times and Bernard Weiner of the San Francisco
Chronicle. These committee members studied scripts of the nominated plays and
made their choices on the basis of script rather than production, thus placing very
much the same emphasis as the editor of this volume gives to the script in making
his New York Best Plays selections. There were no eligibility requirements (such
as Equity cast or formal resident-theater status) except that a nominee be the first
full professional production of a new work outside New York City within this
volume's time frame of June 1, 1982 to May 31, 1983.
It should be noted that Marsha Norman's 'night. Mother, Sam Shepard's Fool
for Love and Yellow Fever by R. A. Shiomi were nominated but became ineligible
for synopsis here when they opened in New York during this season.
The list of other 1982-83 plays nominated by members of ATCA as outstand-
ing presentations in their areas, with descriptions written by the critics who saw
and nominated them, follows the synopsis of Closely Related, which was prepared
by the Best Plays editor.
Cited by American Theater Critics
as an Outstanding New Play
of 1982-83
CLOSELY RELATED
A Play in Two Acts
BY BRUCE MacDONALD
Cast and credits appear on page 81
BRUCE MacDONALD was born in 1951 in Bryn Mawr, Pa., where his father
was a dentist. He graduated from Williams College in 1973 and received his
M.A. in dramatic arts from the University of California at Berkeley in 1976. He
moved into teaching in the Boston area — English at Northeastern, theater at
Salem State College — until, in 1979, John Sayles cast him as a performer in the
movie Return of the Secaucus 7. In pursuit of an acting career, his inevitable
periods of unemployment gave him the time, which he'd never had before, to try
writing scripts. His first two he showed to no one, but his third, Closely Related,
aroused the interest of the New American Playwrights Program at South Coast
Repertory in Costa Mesa, Calif, which helped him to develop it. This group
produced a later draft on March 3, 1983, on the basis of which it was nominated
and chosen by the ATCA committee for synopsis here as an outstanding new
1982-83 script in cross-country theater.
MacDonald lives in Cambridge, Mass. and continues to support his writing time
with acting jobs. He has another script, Getting Off, in revision and a third in work.
He is married, with two daughters.
"Closely Related": by Bruce MacDonald. Copyright © 1983 by Bruce MacDonald. Reprinted by
permission of the Helen Merrill Agency. See caution notice on copyright page. All inquiries should
be addressed to the author's representative: Helen Merrill, 337 West 22nd Street. New York. N.'i'.
10011.
47
48 THE BEST PLAYS OF 1982-1983
ACT I
Scene 1
SYNOPSIS: Melissa Gifford, ''almost 15 years old,'' is standing alone, lit as
though in a dream, saying, "A couple years after he died I started having these
dreams. I was maybe nine. They were never the same. But usually I was chasing
him, like a race or something, and then a car would come, like from nowhere,
and run him over. And I'd keep on running until I woke up. (Pause.) Once I asked
my mother, after I had one of the dreams, if that's what happened, and she got
angry. She said, dreams are not real, you don't remember."
As the lighting changes from dream to reality, Melissa's monologue continues:
"I have this thing where I can tell if somebody's lying." When she began to notice
her parents communicating to each other in ways which she wasn't supposed to
understand — signs, whispering, spelling out words — she turned herself into a sort
of spy, making a game of eavesdropping and prying. In this way, she learned that
both her parents were involved in extramarital attachments with persons named
Myrna and Tim. Her father took Melissa to see Myrna in a play and then
pretended — transparently — that he was meeting her for the first time when they
went backstage after the show. "It was worse acting than the play," Melissa
comments, "Really, he just wanted her to meet me, or she wanted to see what
I looked like, or something."
After this incident, Melissa watched outside Myrna's apartment from time to
time and learned that Myrna has a son about Melissa's age. His name is Christian,
and "He was real restless looking, wouldn't stand still, he always looked like he
was about to run off* somewhere. I think he thought it was tough looking, you
know, don't bother me." One day Melissa walked right up to him and declared,
"Your mother and my father are having an affair." Christian was speechless, so
Melissa gave him a piece of paper with her phone number on it and walked away.
"That was definitely the coolest thing I've ever done," she remembers.
Scene 2
Alan Gifford (a neurosurgeon) and his wife Alison, Melissa's parents, are
talking casually, almost without paying attention to one another, in their living
room. He is going over the check book, she is reading the paper.
ALAN: Is Melissa here or is she out walking?
ALISON: She's walking, she and her binoculars.
ALAN (after brief pause): Did I tell you a boy called the other day?
ALISON (looks up): A boy? Why?
ALAN (back to the checks): Well, Alison, she's almost fifteen, it's mating season,
and I imagine he wanted to talk to her.
ALISON: What did he want?
ALAN: I didn't listen in.
Pause. Alison lets the paper drop.
ALISON: A boy? She's never been interested in boys. Did you ask her what he
wanted?
Penelope Windust as Alison and Lycia Naff as Melissa in a scene
from Closely Related at South Coast Repertory, Costa Mesa, Calif
ALAN: It's none of my business what he wanted. Alison, there is going to be
the first boy, prepare yourself.
ALISON: You know what they are at this age, Alan. Walking erections. Little
walking erections.
ALAN: Well, as long as they're little.
Pause. Alan finds a check that makes him stop. He holds it up.
Here's one to Timothy Lord, speaking of erections. Sixty-eight fifty.
ALISON: Did I add something wrong?
ALAN: No, it's just the first time I've seen a check to him.
He turns the check over, examines the signature.
ALISON: Well, he's so good I really feel I have to express my appreciation, and
on that particular day I didn't have any cash. We made love twelve times that
afternoon. I think it was twelve.
ALAN: I suppose that's reasonable. What, six bucks a shot?
ALISON: You know, he has a sliding scale.
ALAN: Ahh.
Pause.
ALISON: Why, what does she get?
ALAN: Oh, it varies.
ALISON: Mmmhmm?
ALAN: Depends on what's involved. Whips and chains are extra.
50 THE BEST PLAYS OF 1982-1983
The phone rings. Alison goes to answer it and pretends it's Myrna calling,
which gives Alan a start. Actually it's Alan's mother, and as he takes the phone
to talk to her, Melissa enters ''dressed in her spy outfit: French beret, shoulder sack,
binoculars around her neck'' and soon senses the tension in the room. While Alan
is trying to end his phone conversation with his mother, Melissa informs Alison
that she knows who Myrna is and has been watching her. Alan hangs up the
phone, and Alison calls him over to hear what Melissa has to say. She repeats
that she has been watching Myrna through her binoculars.
ALAN: Who?
ALISON: Myrna.
ALAN: Ahhh. Myrna.
MELISSA: I know who she is. Dad. I've known for a while.
ALAN: You know who she is? (Melissa nods. ) What are you doing, spying on
people?
MELISSA: Sort of.
ALAN: I don't understand, you've been watching . . . this woman? For what
purpose?
MELISSA: I was curious. I wanted to know who she was.
Now she knows, and she's glad to bring it all out in the open. And this is not
all she knows.
MELISSA: I know about Tim, too.
ALISON: Tim? You know what about Tim, Melissa?
MELISSA: That you're lovers, Hke Dad and Myrna.
Alison and Alan regard each other; pause.
We don't have to talk about it any more if you don't want to. I wanted you to
know that I knew.
ALISON: Yes.
MELISSA: I figured it was time. (Alison nods her head.) And since it's just the
three of us, like, why can't we all be cool about what's going on?
It's obvious to Melissa that Alan and Alison mean to stay together, so why not
just take these matters in stride? Alan apologizes, but Melissa leaves the room
commenting, "It's no big deal," leaving her parents — Alan in particular — feeling
a bit foolish.
Scene 3
In a park. Christian and Melissa have arranged to meet and are talking.
Christian explains that his father, like his mother Myrna, is a performer but is
away working most of the time in Los Angeles, separated but not divorced from
his mother. Melissa tells Christian that she has seen and admired his mother on
the stage as Lady Macbeth and has met her offstage. And she has spied out the
fact that her father and Christian's mother are lovers. They meet sometimes at
a hotel, but mostly at Myrna's house.
f
THE SEASON AROUND THE UNITED STATES 51
To demonstrate her prowess as an observer, Melissa tells Christian what she
has found out about him.
MELISSA (recites): Sixteen years old, sophomore at Kennedy, above average
student, could do better . . .
CHRISTIAN: What?
MELISSA: Runs track, mostly sprints, likes hot pastrami sandwiches with mus-
tard, which you had one day at Armando's deli, rides a tenspeed European
something . . . let's see, what else? Pretty much of a loner. {Pause. ) And has at
least one girlfriend. N'est-ce pas? Right?
CHRISTIAN: I'm fifteen. (Shrugs.) But some people think I look older. (Pause.)
How old are you?
MELiss.A: Fifteen (Slight pause.) In a couple weeks. (Pause. ) So*^ How'd I do?
CHRISTIAN: What do you mean, a loner?
MELISSA: You walk like you want to be alone, like this.
Melissa imitates his walk, slightly exaggerated, a thug.
CHRISTIAN (laughs a little): I don't walk like that, you look like an idiot.
(Pause. ) And what's this about a girlfriend?
MELISSA: You don't have a girlfriend?
CHRISTIAN: Unh uh, why'd you think that?
MELISSA: That was the one thing I wasn't positive about, that and your age.
(Pause. ) Can't be perfect.
Scene 4
Tim's potter>' studio and Myrna's apartment are simultaneously visible on the
stage. Tim is moving unfired objects out of the room, while Alison works on a
bowl. Myrna, dressed in her bathrobe and alone, is smoking a cigarette, looking
at the clock, waiting. When the buzzer on her intercom sounds, she ascertains
that it is Alan and presses the downstairs buzzer to admit him.
In the studio, Alison tells Tim she believes that she's been flunking life lately.
She's certain, at at least, that she's not doing a satisfactory job with her piece of
pottery.
Alan enters Myrna's apartment. He's tired and drained after a seven-hour
operation to remove a brain tumor from a little boy, whose unnatural stillness
on the operating table brought back memories: "I know how death looks, there
are no surprises, you acquire this distance. But today brought it back, seeing my
own son on the table and thinking . . . what is this, this stillness? (Pause. ) When
you lose the distance, you're lost."
Myrna is worried because Christian has been asking her questions and seems
to have guessed, somehow, that she is carrying on an affair with a married man,
a brain surgeon. Myrna doesn't want Christian to think of his mother as "a sleazy
slut of a marriage breaker," she tells Alan as they exit into the bedroom.
In the studio, Alison throws her despised bit of pottery into the air and lets
it smash itself to pieces on the floor. She confesses to Tim that she is somewhat
fearful of what Melissa thinks about her parents; she and Alan have pretended,
since their son Ned's death, that Ned never existed, and Alison fears that maybe
52 THE BEST PLAYS OF 1982-1983
Melissa believes it and believes her mother and father's relationship is closer than
it really is. Tim assures Alison that Melissa will work out her own destiny. Tim
massages her shoulders and temples to relax her.
TIM: How does it work with Alan?
ALISON: What?
TIM: Do you make love?
ALISON (pause): Not for a long time.
TIM (pause): Why?
ALISON: Because it makes me too sad.
He massages her for a few more moments, then stops.
TIM (resting his hands on her shoulders): There.
Pause. Then reaching for one of his hands, Alison swivels around on
the stool.
ALISON: Will you kiss me?
Pause.
TIM (looks at her): Alison . . .
ALISON: Just once.
He leans in and kisses her, lightly, but for a long moment. Then, slowly,
they pull away. Her eyes are closed, and finally she opens them, sees
him watching her. Pause.
Thank you.
TIM: You could be a star lover. A real star.
ALISON: You think so?
TIM: Positively star material.
ALISON: I think I was once, actually.
In the apartment, Christian comes in and calls out for Myrna. There are
panicky sounds from the bedroom, then Myrna appears in her bathrobe. Chris-
tian has come home early because he has quit the track team — the coach is "a
Nazi idiot." Myrna persuades him to go out and get them some Chinese food for
dinner, and Christian exits.
Alan enters, pulling on his trousers, taking the whole thing as a joke.
ALAN: Myrna, what would it matter if he knew? Melissa survived.
MYRNA: We won't defile her home with our filthy adulterous bodies. (Pause.)
Did you hear he quit the track team?
ALAN: So?
MYRNA: So there go our afternoons, Alan.
ALAN: Ahhh. Well, there's always the Inn.
Pause. She moves away, angry.
Myrna? Myrna. Love will find a way.
MYRNA: We'll just see what happens?
ALAN: What do you want me to do, call the coach? That Nazi?
She collapses in a chair. He goes to her.
Myrna love, what can I do, what do you want?
MYRNA: We're not allowed to talk about what I want.
ALAN: Oh. (Pause.) A yacht on the Mediterranean.
THE SEASON AROUND THE UNITED STATES 53
MYRNA: The question is whether you know what you want. {Pause. ) I'm sorry.
(She gets up, goes to him.) I am sorry, I didn't mean that. (She embraces him.)
I'm very happy.
Scene 5
MeHssa and Christian are sitting on a park bench, she scanning the area with
her binoculars. She persuades Christian to kneel and look her closely in the eye
— either one. She points out that he can see himself reflected there.
Scene 6
At the breakfast table, AHson is troubled because Melissa is seeing Christian
every day — she's even given up spying. Alan feels this is a normal part of the
growing-up process. Alison accuses him of being a "hip" parent encouraging
Melissa to become a "hip" daughter, against Alison's better judgment. Before
Alan can find out exactly what Alison means by "hip," Melissa enters and takes
a bit of breakfast on the wing as she heads for school. She is planning to meet
Christian this afternoon after they finish at their separate schools, and Alan
half-heartedly cautions her against seeing too much of him.
In the course of the conversation Alison asks for the friend's name, and without
thinking MeHssa replies "Christian." Alan freezes. Melissa having let the cat this
far out of the bag, decides to open it all the way and adds, "He's Myrna's kid.
It's . . . something that happened." Melissa goes off to school, leaving her parents
hardly knowing what to say to each other.
Scene 7
Christian and Melissa come in to Myrna's apartment and find a note from
Myma apoligizing for not being there to make Melissa's acquaintance, as
planned, today — a friend has an emergency, and Myrna will be out all evening.
The young people are both a bit selfconscious. Christian tries to light a ciga-
rette, and Melissa tries to stop him. A roughhouse soon develops, with Melissa
doubling him over with a punch in the solar plexus and (the cigarette abandoned)
with Christian getting her down, sitting on her, making as though to kiss her but
not doing it.
When they calm down. Christian massages a sore spot on Melissa's back. At
the same time, he wonders about Mehssa's father: being a doctor, he must
sometimes see his patients die. This thought disturbs Melissa, but she rises above
it, moving around the room, picking up and studying a framed picture of Chris-
tian as a young child.
MELISSA: Look at you. Christian.
He moves a little closer behind her.
You were beautiful.
CHRISTIAN (a little embarrassed laugh): Beautiful?
MELISSA: Tres gentil. {Pause. ) You still are. {Pause. ) Sometimes . . . sometimes
you can see from pictures what people are going to be . . . what you're going
to . . .
54 THE BEST PLAYS OF 1982-1983
She stops, seized by an emotion the picture has awakened. But she bat-
tles it, and very deliberately, mechanically, she places the frame back
on the table. She then places her palms on the table, supports herself.
CHRISTIAN (takes a step toward her): Melissa?
We see that she is crying, quietly, all to herself, trying to hold it in.
Christian moves to her, unsure, puts his hands on her shoulders. Melissa
lets her head fall back against him, and he holds her, tentatively. After
a moment she turns to him, looks at him. She touches his face with her
hand, and he doesn't move. Slowly, she pulls him to her and she kisses
him, lightly. She pulls away, then she kisses him again. When this kiss
is broken, she pulls away — and she laughs — a soft, astonished sound
of joy and release. Christian is lost in her.
What follows is like a dance, a series of movements that have ele-
ments of game and ritual, a dance of love and a prelude to lovemaking.
Moments of breaking away, coming together, twirling, teasing, pursu-
ing, yielding.
At the end they come together a last time. Whatever the final actions
become, we have an implicit understanding that they are about to make
love. Lights fade to black. Curtain.
ACT II
Scene 8
The dual playing areas in this scene are the GifFord living room and Myrna's
apartment. In the latter, Christian is sitting alone, reading a letter. In the former,
Melissa has just told her parents that she is pregnant. Alison is taking it calmly,
but Alan is agitated, asking "Why?" and again "Why?" Mehssa replies evenly,
"There isn't an answer for everything, Dad."
Myrna joins Christian, who has just finished reading a letter from his father
in Los Angeles. Christian doesn't want to go out there this summer as he cus-
tomarily does; he'd prefer to get a job and stay here.
Alison is trying to get things organized: Alan can set things up at his hospital
so that Melissa will have complete privacy. But Melissa doesn't want this — she
wants Christian to escort her to some other hospital to have herself taken care
of. She exits before her parents can comment.
At Myrna's, Christian's mother is assuring him that if he spends the summer
with his father, Melissa will still be here when he comes home, and there are
plenty of girls out there. Christian tries to convince Myrna that his fondness for
Melissa is not trivial.
CHRISTIAN: I think it's real.
MYRNA: Of course you do, honey, you always think it's real, and sometimes
it is real. (Pause. ) What do you mean, real?
CHRISTIAN: I mean . . . love real.
MYRNA: Oh. Oh. (Pause. ) You're both fifteen, honey.
THE SEASON AROUND THE UNITED STATES 55
CHRISTIAN: What about your thing, is that love real? Even though he's married
and all that?
MYRNA: Well ... I think we love each other despite things like that, Christian,
you have to try to forget the things you need to forget. {Slight pause. ) So there's
no reason not to go to California, you can write letters.
CHRISTIAN: You can just forget all that stuff?
MYRNA: You try, Christian. No, you can't forget, but you get to a point where
you say, "If I think about that it's going to drive me crazy," so . . . That's what
love is sometimes, honey, you take what you get and you say, all right, maybe
it's not everything you ever . . . And . . . (She sees his puzzled face, stops; exhales
it. ) Oh Christ.
In the Gifford living room, Alison puts her arms around Alan (a rarity these
days, which they both find pleasant) and reassures him that things will work out.
But Alan is troubled when Alison tells him gently that she will now probably have
to meet Myrna some time to find out what kind of person she is.
ALAN: Why don't you invite Timothy, too. We can have a sleep-over.
Pause.
ALISON (very matter-of-fact): Timothy and I are not lovers, Alan, I think you
should know that.
ALAN (pause; then): What?
ALISON: I . . . pretended. The funny thing was, I think I actually started to
believe it. Have you ever done that? Make something up for long enough that you
forgot you made it up?
ALAN: No, Alison, I find that hard to accept, actually.
ALISON: Timothy and I work together, Alan, that's it. Does that disappoint
you? (She looks at him. ) It does, doesn't it?
ALAN (thinking): Disappoint me? No, I . . . What do you want me to say,
Alison? (Pause. ) Why would you want to make me believe you were . . . ?
ALISON: To make it easier for you? To feel even with you? I don't know. Can
you believe I did that?
Pause. He makes a gesture of incomprehension.
Well. When this is all over, I want to figure out what we're up against, find out
if it's worth it.
ALAN (small, facetious laugh): What, make a . . . determination? Thumbs up
or thumbs down, like some Roman emperor?
ALISON (smiles, nods): Something like that.
Scene 9
Mehssa visits Tim in his studio, knowing that her mother will not be there. She
has come here, she says, just to "hang out" for a while and gets Tim to promise
not to tell anyone else she was here. Tim shows her the shelves of his and Alison's
latest pottery, quite obviously differing in style; as Melissa observes, "Hers are
all kinda crazy, and yours all look like eggshells or something."
Tim explains that in making pottery you have to let yourself go, let your
56 THE BEST PLAYS OF 1982-1983
instincts and the clay take over, fire it and hope for the best. Melissa sees in this
something of an analogy of her own present creative feelings.
Scene 10
Outdoors, Christian and Melissa are discussing the immediate future. Christian
is determined to stay here in town this summer. His mother has a good part in
an Ibsen play, so he and Melissa will have her apartment to themselves most
evenings if the show is a success.
Christian hopes Melissa will want to make love with him again soon. Shyly,
they discuss the previous time. Melissa declares she could feel herself become
pregnant. Then she confesses to Christian that she has decided not to take any
measures to terminate the pregnancy, as he had thought she would.
MELISSA: I'm going to have the baby.
CHRISTIAN: You didn't . . . ?
He half squints at her, tries to see if she's serious. Looks away, then back
at her. He can't speak.
MELISSA (nods slowly, softly): I'm going to.
He sinks back a little, helpless.
Christian ... I couldn't tell you. It was something I had to decide myself. (Pause.)
But really I didn't have to decide, I just knew.
Pause.
CHRISTIAN (softly imploring): You don't want to have a baby, Melissa. Do you?
MELISSA (looks away, then back to him): Christian, I ... I had to. (She tries to
say something else, can't, shakes her head; then, very simple.) I can't explain it.
CHRISTIAN: Uh huh.
MELISSA: You don't have to do anything you don't want to do. Christian, ever,
I mean, if you want you can just visit sometimes ... I take all the responsibility,
all of it.
Pause.
CHRISTIAN: Did you tell anybody?
MELISSA (shakes her head): They don't have anything to do with it.
Pause.
CHRISTIAN: What am / supposed to do?
MELISSA: Nothing. If you can, just try to understand, even if you don't.
CHRISTIAN: Yeah.
Pause. She reaches for him, he lowers his head, and she gently embraces
him.
Scene 11
At the GifFords', Alan and Alison are preparing to receive Myrna and Christian
for the first time. Melissa joins them. Nervously, Alan prepares drinks for himself
and Ahson.
The doorbell rings, and Alan answers it — it's Myrna, alone. It seems that
Christian is unexpectedly busy because his old coach has persuaded him to take
part in a track meet. The necessary introduction takes place, then Melissa decides
THE SEASON AROUND THE UNITED STATES 57
to go for a walk, as Alan fixes Myrna a drink. Awkwardly, the grownups try to
find polite things to say to each other, until Alan can bear it no longer and departs,
leaving the women to cope with each other.
Alison and Myrna explore various subjects including Tim (of whom Myrna has
heard) and Myrna's lapsing marriage. As Alison makes them another drink,
Myrna remarks that from what she knows about it she has imagined that the
Giff'ords have an ongoing successful marriage, reasonably content, each with a
lover. Alison replies, "Well, yes, I suppose it was, has been, despite everything.
You do what you do, you chat, you eat dinner, you sleep, you get up, your life
is going along and you never really worry too hard about where it's going."
On her side, Alison has always imagined Myrna as 32 (she is 37), and content,
though in fact she is not — she lacks a husband.
ALISON: But you have mine.
Pause.
MYRNA: So, we've come to it.
ALISON: No, I want you to understand, I don't blame you. You did nothing
but fill a void, you filled a void in Alan's life, and I welcomed you. I welcomed
you. (Pause. ) When my son died, part of me . . . left Alan. It just happened. Alan
stayed at the hospital, I took long walks, and we slept apart ... for a long time.
MYRNA: You don't have to tell me this.
ALISON: When Alan found you I was glad. I want you to understand that I
never resented you for that. I was grateful.
MYRNA: And you had your potter friend.
ALISON: Yes, I had pottery. Which did for me what you did for Alan. It brought
me out of mourning.
The two women discover that they each requested Alan to arrange for her to
meet the other — Myrna because she felt sorry for Alison when she heard about
Melissa. And now the Melissa-Christian friendship seems to be winding down,
with Christian back on the track team.
Alison comments, "Melissa said that he, that Christian was wonderful when
. . . she went for the abortion." Myrna, in surprise, declares, "Christian said you
took her." "Some sort of confusion," Alison concludes.
Scene 12
Melissa, alone, says to herself, "Sometimes when I was little I'd lie in bed and
. . . there were these things in the air. (Pause. ) I'd watch these, like . . . these
shadows, kind of move across the ceiling . . . like little spirits. Sometimes I'd
talk to 'em in my head, you know, it was like they knew how to read my mind.
(Pause. ) I still think about them."
Scene 13
Two areas are visible: Tim's studio and a sidewalk cafe. In the studio, Tim and
Alison are working diligently, while in the cafe Alan and Myrna are talking about
a tour Myrna has been off'ered, which will take her out of town — and away from
58 THE BEST PLAYS OF 1982-1983
Alan — for a couple of months. Myrna thinks of herself as Alan's back-up system,
but Alan swears that he loves her. Myrna has sometimes dreamed that Alison
would leave Alan free by running off with Tim; nevertheless, she has decided to
accept the offer of the tour, though Alan clearly wants her to stay. Myrna now
knows that Melissa is having the baby, which will be "equally a part of me, and
I intend to do everything I can to make it know that, Alan, to love it." That's
what matters most to Myrna now. As she gets up to go, she advises Alan,
"Distance yourself. You're usually good at it."
In the studio, Alison has just mixed the clay for a new piece, as the scene ends.
Scene 14
Christian and Melissa meet in the park and talk about school. Her friends are
beginning to notice that she is gaining weight. He won the 220-yard dash in the
recent meet. Christian refers ^sarcastically to Melissa's reluctance to repeat the
lovemaking with him, implying that there might be others in line ahead of him.
He means this as a joke, but Melissa is nevertheless offended by his attitude and
declares, "I would never make love with anybody else. £ver" unless and until she
heard that Christian had been unfaithful.
Finally Christian informs Melissa that he has decided to spend the summer in
Los Angeles with his father, after all.
MELISSA: Sounds like a good idea, Christian.
CHRISTIAN: It doeS?
MELISSA: You have to do what you have to do.
CHRISTIAN {nods slowly): Right.
MELISSA: You have to.
CHRISTIAN: Well, I am. That's what I'm gonna do.
Pause. Melissa stands on the bench, holds up her binoculars, looks out.
After a moment. Christian stands, unsure. She senses he's leaving.
MELISSA (with the glasses to her eyes, looking away from him): See you later.
Christian.
CHRISTIAN: (looks at her, puzzled; then): Yeah.
He turns and moves away, slowly; looks back once before he exits.
Melissa drops the glasses, looks off where he went. Then she cries,
silently, painfully. It overtakes her.
Scene 15
In the middle of the night in the Giffords' living room, Alan assures Alison that
he has no plans to try to join Myrna in some far-off city: "I'm not going any-
where." Ahson sums up her first impression of Myrna: "I thought, 'What a lovely
woman.' No fangs. No skin under her nails. I saw the attraction. I'm sure she'll
be a good grandmother."
Alan wants to go on with their marriage as they are, and Alison accuses him
of avoiding the reahties of his life year after year. Alan asserts that he has lived:
"When you were off wallowing in yourself, I was alive, working, feehng, loving."
Why didn't he leave her? Alison wonders. "Because there was nowhere to go
And I didn't want to."
THE SEASON AROUND THE UNITED STATES 59
Alison recalls the night they came home from the hospital after the accident.
Alan wondered how it had happened.
ALAN (pleading): Please . . .
ALISON: No, Alan, I have to do this. And I told you? That I was still in the
store, paying for some presents and . . . and I let him get out of my sight?
Pause. Alan is still looking away.
And you said . . . you let him get out of your sight? You let him get out of your
sight? (Pause. ) You made me mourn alone, Alan.
ALAN (turning): I also mourned.
ALISON: Alone! You made me mourn alone. (Pause. ) I waited and waited and
waited. For seven years, since the moment he was killed, Alan, I've waited for
you to forgive me.
ALAN (shaking): You forget what it was like, Ahson. You gave up, you gave
me up.
ALISON: And then Myrna came along and claimed you?
ALAN: She made me like myself better.
ALISON (crying out): That's my job! You let her do it instead to punish me,
Alan, and you're still punishing me. (Pause. ) Well. We're going to have another
child in our house. And before that happens, Alan, before that happens, I have
to know.
ALAN (looks at her, he's struggling not to cry): I couldn't then, I couldn't.
ALISON (softly): I know. (Pause.) And now, Alan? Can you forgive me now?
ALAN: I want to, Alison, I . . .
ALISON (raises a hand, cutting him off): Please. Don't say any more. That's
enough.
Scene 16
Melissa is alone in dream lighting similar to that in the first scene. She remem-
bers a dream long ago, when she was 7 years old, with a ride in an ambulance
and a lot of screaming and whispering in it.
MELISSA: It was Christmastime. We came out of the store, and we're
going down this sidewalk, Ned and me, and I see a Santa Claus on the next block.
And I say to Ned, race you to Santa! And I give him a head start, cause, you
know, he's only four, it wouldn't be fair. (Pause. ) And we run, and he's ahead.
And when he gets to the curb he can't stop. And then the taxi comes.
Pause. A change in the lights.
I named her Aimee, A-I-M-E-E, like the French spell it.
Pause.
Ned used to tell me that he could see himself in my eye, it was like a game we
played. He would stare in my eye and look real hard, like he was trying to find
out a secret I had. I'm sure he never thought of it like a secret, he was just looking
for his reflection.
Pause.
Lots of times with Aimee I hold her and stare in her eyes the same way. And
I sing her songs in French, I talk to her about Christian. I tell her she is my
60 THE BEST PLAYS OF 1982-1983
lovechild, mon Aimee. Sometimes I can't get her to look straight at me, she moves
all around, looking in different directions. But sometimes, when she looks right
at me, I can see my reflection. And sometimes, sometimes I see Ned. I believe
in . . . spirits.
Pause.
Some day, Aimee and I are going to go and live in France. And Christian too,
if he wants.
Lights fade to black. Curtain.
Other Outstanding New Plays Cited
By American Theater Critics Association Members
E/R Emergency Room, company-developed (Chicago: Organic Theater) — E/R
Emergency Room is a comedy about life and death in an emergency room in a
small Chicago hospital. The patients and their problems are often grotesque and
incredible, but E/R is firmly anchored in the reality of emergency medicine. And
while comedy dominates, the play also pays respect to the fragile human lives that
begin and end in emergency rooms.
Like time-lapse photography, E/R records all that occurs during one shift in the
emergency room at Lincoln Memorial Hospital. We see the boss. Dr. Sherman, a
young physician whose specialty is emergency medicine and whose personality is
wry macho. The good doctor relishes overruling his staff and practising his science
with an urgent bravado. We see an earth-motherly nurse who has seen it all and can
handle it all; another physician who works double shifts to overcome the financial
ruin caused by a divorce; and a wall-flowerish receptionist who becomes tough as a
drill sergeant when chaos threatens to engulf the emergency room.
But most of all, E/R shows us funny sketches of real, believable people. There
is the well-dressed man who arrives complaining of an earache His actual prob-
lem is a light bulb that is lodged in the mostly unlikely and sensitive area
imaginable — far from his ear. How did it get there? He doesn't know. A teen-age
girl arrives, complaining of constipation; her constipation quickly becomes a
baby. After the delivery, she defiantly shouts to her mother, "I didn't have no
baby." And there is the elderly hypochondriac, desperate for someone to find
something physically wrong with her. At one point she declares that she is
suffering from "fireballs of the Eucharist."
E/R has found some of the basic elements of comedy and tragedy in American
urban life and reflected them accurately.
Damien Jacques
Milwaukee Journal
Fool for Love by Sam Shepard (San Francisco: Magic Theater) — Thrilling theater
can come from such basic formulas as: X wants to stay in the room and Y wants
to get him out. In Fool for Love, May is X, determined not to be coaxed out of
f
MILWAUKEE REPERTORY THEATER— Alan Brooks and
William Leach in a scene from The Foreigner by Larry Shue
her motel room in order to live with that damn fool, Eddie, who always dumps
her the minute he gets her back: and Eddie is Y, determined to reclaim his woman
— he hasn't driven his horse-trailer 2,480 miles for zip.
Who's that whiskered geezer in the rocking chair? That's May's and Eddie's
father. It seems they're half-brother and sister, as well as ex-lovers. Maybe that's
why they're so good at fighting. Is the father really there? In their minds, anyhow.
What about this Countess that May accuses Eddie of cheating with*^ She may be
a figment, too. But something's prowling around out there in the American dark.
And it's for sure that May's got a date for the movies.
This is a fine, taut play, full of real behavior, with a mystery in the corner that
won't be solved and that we don't particularly want solved. No need, given
characters as vivid as May and Eddie, who come at each other like Kate and
Petruchio. But no one's going to get tamed here. It's an equal match, whoever
gets the last fall.
The play gives us Shepard's love for women who can hold their own, also his
love for unrepentant rummies and banged-up stunt-riders, also his love for the
conjectural past — the truth of the tall story.
Dan Sulliv.an
Los Angeles Times
The Foreigner by Larry Shue (Milwaukee Repertory Theater) — Larry Shue,
an actor in the Milwaukee Repertory Theater company, deals with communi-
cation in his The Foreigner. He contends that a person unable to speak or
understand the language of his surroundings places himself in something of
a place of honor where he will be taken care of and loved. It also puts
62 THE BEST PLAYS OF 1982-1983
him in the embarrassing position of overhearing much more than he wants to.
A British visitor to a family inn in America's South wanting to avoid entangling
intercourse pretends to speak a nonsense language. His unavoidable eavesdrop-
ping moves him to drop his pretense in order to combat the cruel domination over
the family's slow-witted son, to thwart the fortune-hunting courtship of a hypo-
critical preacher and to bring down the tyranny of a vicious sheriff.
Before the hero accomplishes his ends in a farcical finale of whirlwind propor-
tions, Shue has subtly demonstrated the value of loving tolerance and the folly
of brutal bigotry.
The Foreigner contains sly slaps at the illogical nature of the English language,
tender praise for human nature and devastating criticism of ignorant oppression.
Jay Joslyn
Milwaukee Sentinel
Gandhiji by Rose Leiman Goldemberg (Los Angeles: Los Angeles Actors*
Theater) — As Shaw noted in St. Joan, the world doesn't welcome its saints. But
is this always the world's fault? What if you, reader, had to share your life with
a "selfless" man who was absolutely convinced that he was doing God's work?
To live with a saint takes the patience of one.
This is the theme of Gandhiji, a far less reverential look at Mohandas
Gandhi than the recent film. There we saw Gandhi the ikon. Here we see Gandhi
the man — a great and holy man, Goldemberg has no doubt. But his greatness had
a price. And his loved ones, particularly the women, paid a good deal of it.
The play transpires in Gandhi's mind a split-second before an assassin's bullet
darkens it forever. He and a troupe of imaginary strolling players act out his life
for his and our judgement. We see his painful uphill fight to master his nerves
and his lusts and to reach the calm of truth. Less admirably, we see the enormous
demands he routinely made on those around him, as if their basic purpose on
earth was to help him achieve a higher spiritual plane.
If Gandhi was a saint, says the play, he was also a bit of an exploiter. If he was
selfless, he was also a typical Indian husband who expected to be obeyed, married
to a woman with no taste for obedience. (This leads to some pungent domestic
comedy.) Gandhiji is a skeptical study of a difficult man. Interesting how much
closer one feels to him than to the figure in the film.
Dan Sullivan
Los Angeles Times
Going to See the Elephant by Karen Hensel and Elana Kent, based on an idea
by Patti Johns (Pasadena: Los Angeles Repertory Theater) — Going to See the
Elephant deals with four women on the Kansas frontier in 1870.
Sarah, a young wife and mother, is struggling to make a home on the bleak
prairie for her husband and young children — who are away, at the time of the
play, on a several-days' journey to bring supplies from the settlement.
She is aided by Ma, her mother-in-law, who plans to stay only long enough to
help get the family settled. Then she is going to move on farther west, perhaps
to nurse soldiers in Colorado. She is not, despite her age, going to settle down
and take root. She wants to "see the elephant" — to see what's over the next hill.
THE SEASON AROUND THE UNITED STATES 63
Mrs. Nichols, who came out with her husband and young son hoping to find
an idealistic. Thoreau-like life and instead found only tragedy — the death of their
son — and despair, is ready to give up and return to the East. She has stopped off
with Sarah and Ma because of the illness of her husband — Ma having a reputation
for healing pxDwers.
Etta, a young neighbor, has walked the more than ten miles from her farm at
the word that there are strangers, new faces, to be seen. While taking in the
splendor of Mrs. Nichols and her Eastern clothes, she discusses with Sarah her
plans for marriage to a young Army officer who was one of the company who
rescued her from captivity with the Indians.
The four women discuss their situations, they fight off an attack of wolves on
the hvestock, and at the end Mrs. Nichols leaves to continue her retreat to the
East, leaving her husband in Ma's care. Sarah and Etta resolve to continue to
make the best of the hard frontier life, and Ma remains determined to see as much
of the world — of "the elephant" — as she can while she still has the strength.
T.E. Foreman
Riverside Press-Enterprise
Letters From Prison b> Jack Henry Abbott (Providence: Trinity Square Reper-
tory" Company) — \Mien Jack Henr>' Abbott began a correspnDndence with Nor-
man Mailer he was a furious man. his anger springing from a life lived in a trash
bin. a life in which his parents gave up early and saw him sp)end all but 18 months
of his adult life behind bars.
His edited letters became In the Belly of the Beast, a cntically successful book
adapted for the stage by Providence's Trinity Square Repenor\ Company. The
theater was excited by Abbott's whijvsharp prose and his vivid view of life on the
inside.
The book was no anecdotal memoir. It was a scream in the night, a kaleido-
scope of black holes and beatings around a center concerning the fear and power
gained in the act of killing another man with a knife. In the Belly of the
Beast was unrelentingly discomfiting, but it shone with hard truth and provided
a perhaps unique view of the other-than-John-Wayne reality of that Amencan
icon, the man alone.
Adapted and directed by Adrian Hall, with a set by Eugene Lee and with
Rjchard Jenkins giving an elastic and subtle performance as Jack Abbott, Tnn-
ity's production was a stunning piece of work. The play — changed considerably
just before the opening — ranged from isolation cells where .Abbott survived on
cockroaches to his last moments of freedom v^hen he knifed another victim in
New York.
The staged work asked how our society could produce a man as deranged as
Jack Abbott. By its v erv nature the play was also dangerously close to an apology
for the man. But in the end it was one of those works that help us to re-think,
those with still open minds, what seemed a closed situation.
In the end. Letters From Prison offered no answers but was that rare commod-
ity, a play that let us see with new eyes.
William K Gale
Providence Journal-Bulletin
64 THE BEST PLAYS OF 1982-1983
The Man Who Could See Through Time by Terri Wagener (Houston: Stages) —
The atmosphere in the tranquil attic where the physicist Prof. Mordecai Bates
works is broken by the startling and at first resented arrival of a young woman,
Ellen Brock, formerly his student and now a sculptor with the promise of the big
time.
She's there to do a sculptured bust of the important scientist, commissioned
by his sister who owns the house where he lives and works. The play becomes
a collision of personalities at critical moments in both their lives. She, as a woman,
represents a new freedom and, being younger, still has the promise of tomorrow.
He, past his prime, once yearned for the Nobel Prize and suffers a growing lack
of confidence, loneliness and the possibility of narrow vision.
As Ellen returns to work on the sculpture, the tense relationship takes unex-
pected turns. Ellen, it is revealed, had been the lover of Tom Fielder, Bates's
treasured young colleague, a brilliant former student who had gone on to develop
the acclaimed Fielder lens. "That mechanism, when used in conjunction with
mathematics, seems by all experimentation so far to distinguish relative motion
from pure motion," Bates explains. *The physics world is on its collective ear
Tom has gifted the scientific world with, quite literally, the ability to see
through time. Time travel should be next. Miss Brock," Bates says to his young
visitor.
But Fielder, who could have been another Einstein in Bates's belief, has died,
victim of a bleeding disease. The painful irony, as Bates puts it, is "that a group
of so-called medical geniuses whose job it is to replace hearts and repair brains
could not save a brilhant young man." Further irony develops as Ellen breaks
the news to the professor that Fielder has been awarded the Nobel Prize, and that
she will be the recipient of the funds that accompany it — at Fielder's request.
Ellen and Bates move subtly into adversary positions, and their exchange becomes
in part a debate on the respective virtues of art and science.
Wagener has structured her play for two characters so that Bates appears
frequently before his class (actually the audience) to lecture on such subjects as
Einstein's Unified Field theory; the atmosphere of Venus; the abacus and the rose;
the echo of the Big Bang. At one of these, Ellen rises and challenges the professor.
Wagener has done her research admirably and further has nimbly laced it into
these lectures so that they are not as formidable as they sound, and one may
actually have a sense of understanding. The scholarly tangents that these lectures
provide don't detract from the play's main thrust: the delicacy of the relationship.
There is a moment when the two experience a warm moment, but they veer off.
There's a frustration in the sense that Bates and Ellen could get together but don't
or can't. That's a strength of the play, however. Less satisfying is Ellen's approach
to her calling. As a sculptor of high promise, she is unprofessional in her emo-
tional response when the sculpture is given a violent blow by the angered profes-
sor. Any true artist would know that the work could be restored; the question
is: does she have the desire?
Nevertheless the play is a bright exploration of the passing association of two
individuals, like comets, affected by the pull of a number of universal forces.
Ann Holmes
Houston Chronicle
THE SEASON AROUND THE UNITED STATES 65
On the Money by John Kostmayer (Burbank: Victory Theater) — This is an
exceptionally powerful, ably constructed, naturalistic play about the evils of
money — or the lack of money — in the Violent Society, that starts out with decep-
tively light humor and ends in a bloodbath as stark and unrelenting as reality
itself.
Three overworked and underpaid employees of Candy Solomon's Black River
Cafe, a basement restaurant and bar in New York City, devise a Sunday night
holdup that might give each of them a relatively harmless way out of serious
financial dilemmas. It's the almost perfect setup, and a weekend's take is a drop
in the bucket for their ungenerous employer. But it might give Jack, the debt-
ridden bartender with a working w ife and three kids, a chance to pay off the loan
shark; it might enable Nancy, the waitress, to settle huge doctor bills and put her
kid in a school where she won't get beaten up; it might give the gambling waiter
Benny (who dreams up the idea) a desperately needed chance to pay back money
borrowed from dangerous characters and lost on the horses. But the plan misfires,
ending in Benny's death and a harrowing confrontation between Jack and an
unhinged gunman.
Kostmayer's primary skill, after carefully building his house of cards, is in
persuasively demonstrating that each individual — loan shark, criminal, psycho-
path and miserly boss — is ultimately a victim of social conditioning. The catapult-
ing events of Act II brilliantly reinforce that proposition. This is a stark, startling
piece of high-powered action-drama that carries with it unexpected philosophical
resonances, reaching deep into our collective conscience for an honest assessment
of the principles on which our society is founded.
Sylvie Drake
Los Angeles Times
Sand Castles by Adele Edling Shank (San Francisco: Magic Theater; Actors
Theater of Louisville) — Adele Edling Shank, author of Sunset/Sunrise and
Winterplay , continues her exploration of America's suburban lost in this comedy-
drama set on a California beach. Several characters overlap from her previous
play Stuck, an examination of business types; here, they, along with friends and
family, are confronting their thwarted dreams and hopes, coming to new sexual
and social arrangements, taking care of business — all on a hyper-realistically
designed beach setting. It's a kind of Chekhovian tragicomedy in modem dress,
one that walks a fine line between soap opera and acute social analysis. As in
Shank's other plays, there is a technological twist: in this case, walkie-talkies
utilized by a prostitute and her daughter as a bu<iiness tool/security check. There
is also an interesting theatrical device of switching from foreground on the beach
to background on the boardwalk. The result is a quintessentially American play
that compels attention.
Bern.ard Weiner
San Francisco Chronicle
She Also Dances by Kenneth Arnold (Costa Mesa: South Coast Repertory) —
This play is so meticulously conceived that its elements come together like music.
Arnold has set himself a number of unusual obstacles, one of which is to write
66 THE BEST PLAYS OF 1982-1983
interestingly of a hard-to-capture period, one's teens to early 20s; another of
which is to make one of the principals handicapped during a time when it seems
that an entire wing of the American theater is being converted into a hospital for
the suicidal, cancer-ridden, or otherwise terminally afflicted; and yet another of
which is to work his action in a non-naturalistic mode. If that isn't enough, one
of the two characters in She Also Dances must have gymnastic skills, since he has
to perform on a high bar throughout.
Lucy is the handicapped daughter of wealthy Newport (California) parents
who hires Ted, an aspiring dancer and gymnast, to push her wheelchair around
campus. She can't move; he's all movement, a nervous reaction to her caustic wit
and probing intelligence. Arnold is especially skilled at suggesting the thorny
labyrinths Lucy surrounds herself with in order to spare herself disappointment.
Lucy's smart, somewhat bitter dialogue is a bit hard for the gentler, ostensibly
good-humored (but privately fearful) Ted to handle. In time they (and we) learn
a great deal about their lives; their tentative emotional pas de deux is elevated into
an informal dance as a central guiding metaphor. "People don't know the dances
they do," Ted tells her. "They don't notice what happens when two people
touch." They hold their palms up to each other, and we see what he means: body
language works in a continuous relation with the surrounding world.
At one point Ted dumps her out of the chair onto the floor. It's a shocking,
seemingly crude gesture, but it serves its purpose — it gets her out of her metal
fortress. He picks her up and twirls her around his body, gently but exuberantly,
and she discovers what he means: life is movement. When they become lovers,
we don't think "How great it is that handicapped girl can make it with young
stud." Instead, it becomes a powerfully unselfconscious expression here of what
sex would be: a confluence of physical, emotional and spiritual movement.
Arnold is a poet, which means he has an eye and ear for the rightness of details,
and he's added an onstage clarinet accompanist to help with mood and tone.
When done well, as it was at the South Coast Rep (Jules Aaron directed Patti
Johns and Marc Vahanian), the ending of She Also Dances seems to have a
palpable ping.
Lawrence Christon
Los Angeles Times
The Value of Names by Jeffrey Sweet (Actors Theater of Louisville) — How long
is long enough to remember the wrongs that have been done against us? Jeff'rey
Sweet's The Value of Names explores that question as it relates to a blacklisted
actor, his actress daughter and the director who named him before the House
Un-American Activities Committee. Benny was a successful actor until his good
friend Leo gave his name to HUAC in order to save Leo's then-promising
directorial career. As a result, Benny could not work for six years. Though Benny
has recently attained fame in a TV situation comedy, he remains bitter towards
Leo. And this bitterness is the cause of the main conflict in Sweet's play; for, when
Norma, his daughter, lands a choice role in a play whose director is fired, the
replacement director is the now-famous Leo. Should Norma give up her opportu-
nity in support of her father, by refusing to work with Leo? Has enough time
passed to enable Benny to forgive Leo when he comes asking for Benny's renewed
THE SEASON AROUND THE UNITED STATES 67
friendship? With humor and compassion, Sweet has his characters grapple with
these problems until they reach their individual — and probably inevitable — con-
clusions.
Debbi Wasserman
Westchester
A Weekend Near Madison by Kathleen Tolan (Actors Theater of Louisville) —
In the Fifth of July mode, Kathleen Tolan's sensitive new play brings a group
of old friends together for a weekend of reckoning. They had been passionate
liberals together in a commune during the 1970s. Now their lives are on an
emotional roller coaster, as the three women exercise their options (lesbianism,
abortion, feminism), and the two men (brothers) founder in emotional confusion
and uncertainty.
A Weekend Near Madison is not in the least a polemic for feminism or anything
else. It's an amusing and touching exploration of the emotional havoc alternative
lifestyles can wreak, particularly when the biological urge to have a child makes
its demand.
The five friends assemble in the home of David, a kind and accepting psychia-
trist, and his wife Doe, who has been despondent since she had an abortion.
David's brother Jim once loved Vanessa, who has deserted him for Samantha, her
lesbian lover and sister-in-song (they're singers) in the feminist movement.
Vanessa and Samantha are happy together, but they want a child to make their
union complete. Could Jim possibly oblige?
What could have been sitcom comedy/pathos in lesser hands becomes three-
dimensional and moving in Tolan's grasp. There is much good writing in the
script and an abundance of compassion. But there's also far too much pop talk
of the "Wow!" variety, a favored expression of Vanessa's, which makes her seem
silly, when she isn't. Only in this instance does Tolan do a disservice to her
characters.
Helen C. Smith
Atlanta Journal- Atlanta. Constitution
Yellow Fever by R.A. Shiomi (San Francisco: Asian American Theater Com-
pany)— Using the form of a Sam Spade-type detective thriller, playwright R. A.
Shiomi takes the audience entertainingly behind the scenes of the Japanese-
American community, revealing both the internal politics and widely varying
points of view, as well as trenchantly pointing up the racist society that surrounds,
and attempts to define and thus control, it. That description may sound heavy,
but in practise, it's anything but, as the Maltese Fq/com- like comic plot unfolds.
Bernard Weiner
San Francisco Chronicle
A DIRECTORY OF PROFESSIONAL
REGIONAL THEATER
Compiled by Ella A. Malin
Professional 1982-83 programs and repertory productions by leading resident
companies around the United States, plus major Shakespeare festivals, are
grouped in alphabetical order of their locations and listed in date order from May,
1982 to June, 1983. This list generally does not include Broadway, off-Broadway
or touring New York shows (unless the local company took some special part),
summer theaters, single productions by commercial producers or college or other
nonprofessional productions. The Directory was compiled by Ella A. Malin for
The Best Plays of 1982-83 from information provided by the resident producing
organizations at Miss Malin's request. First productions of new plays — American
or world premieres — in regional theaters are listed with full cast and credits, as
available. Figures in parentheses following title give number of performances and
date given is opening date, included whenever a record of these facts was obtaina-
ble from the producing managements. Guest productions listed in the Directory
were not included in this summary, unless the host theater was directly involved
in the production or was the first point of origin. Producing organizations con-
tinued community outreach programs for special audiences, and many theaters
have installed special facilities, and sometimes performances, for the physically
handicapped.
ABINGDON, VA.
Barter Theater
(Producing director, Rex Partington; founder, Robert Porterfield)
YOU CANT TAKE IT WITH YOU (23). By TINTYPES (23). By Mary Kyte, with Mel
George S. Kaufman and Moss Hart. June 9, Marvin and Gary Pearle. August 11, 1982. Di-
1982. Director, Thomas Gruenewald. With Cleo rector-choreographer, Pamela Hunt; musical di-
Holladay, Arlene Lencioni, Diane Reynolds, rector, Marvin Jones. With Don Bradford,
Ken Costigan, Harry Ellerbe. Randy Brenner, Audrey Heffernan, Barbara
Niles, Vanessa Shaw.
HEDDA GABLER (23) By Henrik Ibsen; i quGHT TO BE IN PICTURES (28). By Neil
adapted by John Osborne. June 30, 1981 Direc- ^.^^^ September 1, 1982. Director, Ken Cos-
tor, Paul Berman. With Dorothy Ho land, ^. ^.^^ ^^^^ Holladay, Catherine Coray.
George Hosmer, Paula Mann, Ross Bickell, Ed- j^ Rickell
ward Gere.
THE MOUSETRAP (39). By Agatha Chris-
THE MATCHMAKER (23). By Thornton tie. September 29, 1982. Director, Dorothy
Wilder. July 21, 1982. Director, Rex Parting- Marie Robinson. With Cynthia Barnett, Drew
ton. With Rex Partington, George Hosmer, Ross Keil, Michael P. O'Brien, Cleo Holladay, Ian
Bickell, Cleo Holladay, Gerry Goodman, Kate Stuart, Alexandra O'Karma, Sherman Lloyd,
Kelly. Jason Culp.
68
THE SEASON AROUND THE UNITED STATES
69
Designers: scenery, Daniel H. Ettinger, Bennet Averyt, John C. Larrance, Lynn Pecklal; lighting,
Christopher J. Shaw, Charles Beatty, Tony Partington; costumes, Judianna Makovsky, Georgia
Baker, Sigrid Insull, Barbara Forbes, Albert Oxter.
Note: Barter Theater presented the following productions, 12 performances each, at George Mason
University in Fairfax, Va., between November and March: Hedda Gabler, The Matchmaker. The
Mousetrap. Hay Fever. Tintypes. At the end of the winter season, the Barter Players took The
Mousetrap to more than 25 cities and towns in five states, returning to the home theater m Abingdon
in April, opening the spring season.
ANCHORAGE, ALASKA
Alaska Repertory Theater: Sydney Laurence Auditorium
(Artistic director, Robert J. Farley; associate artistic directors, Walton Jones, John Going)
NIGHTINGALE (23). By Charles Strouse;
adapted from the fairy tale. December 23, 1982.
Director, Meridee Stein. With The First All
Children's Theater of New York company.
MAJOR BARBARA (23). By George Bernard
Shaw. January 27, 1983. Director, John
Going. With Emery Battis, Ivar Brogger, Eliza-
beth McGovern, Gary McGurk, Elizabeth
Parrish.
AINT MISBEHAVIN' (23). Songs by Fats
Waller; based on an idea by Murray Horo-
witz and Richard Maltby Jr. March 3, 1983. Di-
rector, Murray Horowitz; arranger-orchestrator,
Luther Henderson; choreographer, Connie
Gould; conductor, J. Leonard Oxley. With
Debra Byrd, Andre De Shields, Adriane
Lenoz, Ken Primus, Roz Ryan.
Designers: scenery, William Schroder, Ron Placzek; lighting, Spencer Mosse, Pat Collins; cos-
tumes, Kurt Wilhelm, Randy Barcelo.
Note: Ain't Misbehavin' and Diamond Studs were presented in Fairbanks in spring 1983. In the fall
of 1982, Alaska Repertory Theater presented Tukak Teatret (the professional Eskimo theater) in a
production of Inuit throughout the state.
ASHLAND, ORE.
Oregon Shakespearean Festival: Elizabethan Stage
(Founder, Angus L. Bowmer; artistic director, Jerry Turner; executive director, William W.
Patton; general manager, Paul Nicholson)
THE COMEDY OF ERRORS (34). By William
Shakespeare. June 15, 1982. Director, Julian
Lopez-Morillas. With James Carpenter, Daniel
Mayes, Joyce Harris, Gloria Biegler, Sam
Pond, Lawrence Paulsen.
ROMEO AND JULIET (34). By William
Bigelow. With Kyle MacLachlan, Gloria Bie-
gler, Wayne Ballantyne, James Carpenter, Dan-
iel Mayes.
HENRY V (34). By William Shakespeare. June
17, 1982. Director, Pat Patton. With Bruce
Gooch, Cal Winn, Tina Mane Goff, Barry
Shakespeare. June 16, 1982. Director, Dennis Kraft, William Keeler.
Oregon Shakeapearean Festival: Angus Bowmer Theater
JULIUS CAESAR (43). By William Shakes-
peare. June 2, 1982. Director, Jerry Turner. With
Cal Winn, Barry Kraft, Philip Davidson, Joan
Stuart-Morris, Shirley Patton, Joyce Harris.
SPOKESONG (54). By Stewart Parker and
Jimmy Kennedy. June 3, 1982. Director, Denis
Arndt. With James Finnegan, Richard Poe.
Gayle Bellows.
BLITHE SPIRIT (34). By Noel Coward. June 4.
1982. Director, Pat Patton. With Joan Stuart-
Morris, Richard Elmore, Priscilla Hake Lau-
ris, JoAnn Johnson Patton.
ALLIANCE THEATER COMPANY, ATLANTA— Mary Nell Santa-
croce, Stephen Hamilton and Jim Peck in Immorality Play by James Yaflfe
THE FATHER (54). By August Strindberg;
translated by Jerry Turner. July 15, 1982. With
Denis Amdt, Mary Turner, Gloria Biegler, Law-
rence Paulsen.
THE MATCHMAKER (43). By Thornton
Wilder. August 27, 1982. Director, Rod Alex-
ander. With Margaret Rubin, Michael Kevin,
Mark Murphey, Jeanne Paulsen, Lawrence
Paulsen, Tina Marie Goff/Amy Potozkin, Rich-
ard Elmore, Priscilla Hake Lauris.
INHERIT THE WIND (16). By Jerome Law-
rence and Robert E. Lee. September 11, 1982.
Director, Dennis Bigelow. With Wayne Bal-
lantyne, Philip Davidson, Phyllis Courtney, Sam
Pond, Stefan Fischer, Gayle Bellows.
HAMLET (23). By William Shakespeare. Febru-
ary 25, 1983. Director, Robert Benedetti. With
Mark Murphey, Denis Arndt, Megan Cole,
Gayle Bellows, Bruce Gooch, Allen Nause.
MAN AND SUPERMAN (23). By George Ber-
nard Shaw. February 26, 1983. Director, James
Moll. With Joan Stuart-Morris, Joe Vincent, Mi-
chael Kevin, Allen Nause, Gayle Bellows, Daniel
Mayes, Robert Sicular, Shirley Patton.
AH, WILDERNESS! (24). By Eugene O'-
Neill. February 27, 1983. Director, Jerry
THE SEASON AROUND THE UNITED STATES
71
Turner. With Philip Davidson. Mar> Turner,
Craig Rovere, William Keeler, Priscilla Hake
Lauris, Robert Sicular, Jill Jones, William
McKereghan.
WHAT THE BUTLER SAW (11) By Joe
Orton. April 29. 1983 Director. Pal Patton.
With Philip Davidson, Priscilla Hake Lauris,
Richard Elmore, Amy Potozkin, Daniel
Mayes, Paul Vincent O'Connor.
Oregon Shakespearean Festival: Black Swan
HOLD ME! (23). By Jules Feiffer. June 3, 1982.
Director, Paul Barnes. With Joan Stuart-Mor-
ris, Cal Winn, Sam Pond, Tina Marie GoflT,
JoAnn Johnson Patton.
WINGS (13). By Arthur Kopit. June 4, 1982.
Director, James Moll. With Karen Norris,
Jeanne Paulsen, Daniel Mayes.
THE ENTERTAINER (40) By John Os-
borne. February 25, 1983. Director, Dennis
Bigelow. With Denis Arndt, Zoaunne LeRoy,
William McKereghan, Helen Machin-Smilh,
Bruce Gooch.
DON JUAN IN HELL (36) By George Bernard
Shaw. February 27, 1983. Director, James
Moll. With Joe Vincent, Joan Stuart-Morris,
Wayne Ballantyne, Michael Kevin.
Designers: scenery. William Bloodgood. Karen Gjelsteen, Richard L. Hay; lighting. Robert
Peterson. Peter Allen, James Sale, Richard Ridell; costumes, Jeannie Davidson, Candace Cain, Carole
Wheeldon, Mariann Verhagen. Deborah Dryden. Martha Burke, Warren Travis. Claudia Ever-
ett.
ATLANTA
Alliance Theater Company: Mainstage
(Managing director, Bernard Havard; artistic director. Fred Chappell)
ANOTHER PART OF THE FOREST (33). By
Lillian Hellman. September 8, 1982. Director,
Fred Chappell. With Michele Farr, Mary Nell
Santacroce, Eddie Lee, Gary Reineke, Larry
Larson.
CHEKHOV IN YALTA (32) By John
Dnver and Jeffrey Haddow. October 20, 1982.
Director, Fred Chappell. With Alan Mixon, Al
Hamacher, Judy Langford, Eddie Lee, Gary
Reineke, Yetta Levitt.
MAME (33). Book by Jerome Lawrence and
Robert E. Lee; music and lyrics by Jerry Her-
man. December 1, 1982. Director, Russell
Treyz; musical director, Michael Fauss; choreog-
rapher, Mary Jane Houdina. With Judy Lang-
ford, Benji Wilhoite, Stanton Cunningham, Jan
Maris, Ginny Parker.
FIFTH OF JULY (33). By Lanford Wilson. Jan-
uary 12, 1983. Director, Kent Stephens. With
Betty Leighton, Eric Conger, Don Spaulding,
Linda Stephens, Suzanne Calvert.
A LITTLE NIGHT MUSIC (33). Music and
lyrics by Stephen Sondheim; book by Hugh
Wheeler; based on Ingamar Bergman's film
Smiles of a Summer Sight. February 23. 1983.
Director, Fred Chappell; music director. Mi-
chael Fauss; choreographer. Lee Harper. With
Betty Leighton, Linda Stephens. Jeff Rich-
ards, Suzanne Sloan, Larry Solowitz. Roy Alan
Wilson. Lynn Fitzpatrick.
TWELFTH NIGHT (33). By William Shakes-
peare. April 6. 1983. Director. Kent Stephens.
With Michele Farr. Fran McDormand. Lane
Davies. Skip Foster. Eddie Lee. Brooks Bald-
win, Mananne Hammock.
Alliance Theater Company: Studio Theater
MY SISTER IN THIS HOUSE (11). By Wendy
Kesselman. January 5. 1983. Director, Bob
Wnght. With Chondra Wolle, Cathy Larson,
Muriel Moore, Kathryn Caden.
IMMORALITY PLAY (11) By James Yaffe.
February 16. 1983 (world premiere). Director,
David McKenna.
Harry Lowenthal Jim Peck
Polly Lowenthal Mary Nell Santacroce
72
THE BEST PLAYS OF 1982-1983
Edith Wilshire Bea Swanson
Melvin McMullan Stephen Hamilton
Dave DeVito Larry Larson.
HOME (1 1). By Samm-Art Wilhams. March 30,
1983. Director, Walter Dallas. With Bill
Nunn, Sharlene Ross, Iris Little Roberts.
EDUCATING RITA (17). By Ntozake
Shange; adapted from the play by Willy Rus-
sell. May 11, 1983 (world premiere). Director,
Fred Chappell.
Rita Lynne Thigpen
Frank David Canary
Alliance Theater Company: Atlanta Children's Theater
COTTON PATCH GOSPEL. Book by Tom
Key and Russell Treyz; music and lyrics by
Harry Chapin; based on Clarence Jordan's book
The Cotton Patch Version of Matthew and
John. Director, Russell Treyz; musical director-
arranger, Tom Chapin. With Tom Key, the Cot-
ton Pickers.
THE EMPEROR'S NEW CLOTHES. By Larry
Shue; based on the story by Hans Christian
Andersen. October 4, 1982. Director, Kent
Stephens; musical director-arranger, David
Smadbeck.
THE PIRATES OF PENZANCE by W.S.
Gilbert and Arthur Sullivan; adapted by Charles
Abbott. Director, Kent Stephens; choreogra-
pher, Patrick McCann.
Designers: scenery, Mark Morton, Angie Riserbato, Lynne Spencer, Tony Loadholt, John
Falabella; lighting, William B. Duncan, Paul Valoris, Michael Stauffer, Pete Shim, Paul Acker-
man, Kevin Myrick, Dudley Voll; costumes, Thom Coates, Susan Hirshfeld, Fannie Shubert, Linda
Acetta, Joyce Andrulot, John Falaballa.
Note: Alliance Theater Company presented the following readings during the 1982-83 season: The
Reeve's Tale, directed by Bob Wright; The Swooning Virgin by Joel E. Green, directed by Billings
La Pierre; Tennessee Waltz by Michael Russell, directed by Skip Foster; A Woman's Place by Lezley
Havard, directed by Kent Stephens.
BALTIMORE
Center Stage: Mainstage
(Artistic director, Stan Wojewodski Jr.; managing director, Peter W. Culman)
LAST LOOKS (42). By Grace McKeaney. Sep-
tember 27, 1982 (world premiere). Director,
Jackson Phippin.
Ray Morrow Emery Battis
Delia Morrow Gloria Cromwell
Val Chris Weatherhead
Guy Graham Beckel
Clair Lucinda Jenney
Mercedes Sarah Chodoff
Joey Josh MacFarland
Howard Benson John Procaccino
Time: Saturday, August 25. Place: Day's End,
the Morrow family home on the Eastern shore of
the Chesapeake. Two intermissions.
THE MISER (43). By Moliere; adapted by Miles
Malleson. November 5, 1982. Director, Stan
Wojewodski Jr. With Bill McCutcheon, James
McDonnell, Patricia Kalember, Tony Soper, Jeff
Natter, Tana Hicken.
DIVISION STREET (42). By Steve Tesich. De-
cember 17, 1982. Director, Stan Wojewodski
Jr. With Keith Langsdale, Paulene Myers, Victor
Argo, Carolyn Hurlburt, Billy Padgett.
WINGS (42). By Arthur Kopit. January 28,
1983. Director, Stan Wojewodski Jr. With Bette
Henritze, Phyllis Somerville, Daniel Szelag.
THE WOMAN (42). By Edward Bond. March
1 1, 1983 (American premiere). Director, Jackson
Phippin.
The Greeks:
Heros Peter Burnell
Ismene Jennifer Harmon
Nestor Emery Battis
Thersities; Temi Anderson Matthews
Ajax Tony Soper
High Priest; Artos J. S. Johnson
Captain Wil Love
Cailis Timothy Boisvert
Lakis Lance Newman
The Trojans:
Hecuba Beatrice Manley
Son Rodney W. Clark
THE SEASON AROUND THE UNITED STATES
73
Cassandra Tania Myren Greek encampment and the Trojan palace envi-
Astynax Lisa Ellen Abrams rons. Act II: Twelve years later, an island fishing
High Priest Daniel Szelag village, early spring through late fall.
Shallios Vivienne Shub
Porpoise Rosemary Knower LOVE'S LABOUR'S LOST (43). By WUham
Dark Man Tom Kopache Shakespeare. April 22. 1983. Director. Stan
Princesses, Plague Women: Susan Beverly, Wojewodski Jr. With Peter Burnell. Boyd
Shirley Hams, Joanne Manley, Kate Phelan, Raines, Anderson Matthews. Lorraine Tous-
Lorraine Toussaint. ^^»"t' ^""^^y ^attis.
Act I: Ilium, action alternates between the
Designers: scenery, Hugh Landwehr, Richard R. Goodwin. Ed Wittstein; lighting, Judy Ras-
muson, Craig Miller, Bonnie Ann Brown, Ann C. Wrightson, Arden Fingerhut; costumes, Linda
Fisher, Don Granata, Del W. Risberg, Walter Pickette, Robert Wojewodski.
Center Stage: First Stage
Reading of workshop premieres, 1 performance each, Mondays
SISTERS by Patricia Montley; director, Stan
Wojewodski Jr.
THE SLEEP OF REASON by Antonio Buero
Vallejo; translated by Marion Peter Holt; direc-
tor Travis Preston.
ASIAN SHADE by Larry Ketron; director, Stan
Wojewodski Jr.
HITCHIN' by Lewis Black; director, Mark
Linn-Baker.
THE MANDRAKE by Rosalyn Drexler; music
by Lance Malcahy; adapted from Machievelli's
La Mandragola; director, Edward Stone.
NATIVE SPEECH by Eric Overmyer; director.
Paul Berman.
Note: The Young People's Theater of Center Stage toured Baltimore and through Maryland, Feb.
7- April 29, with Yes, I Can!, written and directed by Edward Stone.
BERKELEY, CALIF.
Berkeley Repertory Theater: Mainstage
(Producing director, Michael Leibert; general manager, Mitzi Sales)
In rotating repertory:
TONIGHT AT 8:30 (72) By Noel Coward. WE
WERE DANCING and WAYS AND
MEANS, June 22, 1982; FAMILY ALBUM and
BRIEF ENCOUNTER, June 25, 1982;
SHADOW PLAY and RED PEPPERS, June
29, 1982. Director, Alex Kinney; musical direc-
tor, Richard Koldewyn; choreographer, Larry
Berthelot. With Charles Dean, Stephen J.
Godwin, Irving Israel, Kimberly King, Michael
Leibert, Judith Marx.
HAPPY END (32). By Bertolt Brecht and Kurt
Weill; adapted by Michael Feingold. September
28, 1982. Director, Michael Leibert; musical di-
rector, John Geist. With Kimberly King, Ste-
phen J. Godwin, Judith Marx, William McKe-
reghan, Sally Smythe, Ina Wittich.
CHEKHOV IN YALTA (32). By John
Driver and Jeffrey Haddow. November 2, 1982.
Director, Albert Takazaukas. With Brian
Thompson, Tony Amendola, Sally Smythe,
Charles Dean, Richard Rossi.
THE GLASS MENAGERIE (40) By Tennessee
Williams. December 7. 1982. Director. Michael
Leibert. With Joy Carlin, Charles Dean, Kimb-
erly King, Tony Amendola.
THE SHOW-OFF (32). By George Kelly. Janu-
ary 18, 1983. Director, John R. Freimann. With
David Booth, Barbara Oliver, Judith Marx.
BEYOND THERAPY (32) By Christopher
Durang. February 22. 1983. Director. Joy
Carlin. With Shirley Jac Wagner. Judith
Marx. Charles Dean, Brian Thompson. David
Booth.
U.S.A. (32). By John Dos Passos; adapted by
Paul Shyre. May 3, 1983. Director. Gregory
Boyd. With Stephen J. Godwin.
CENTER STAGE, BALTIMORE— Lucinda Jenney and Graham Beckel in
a scene from Last Looks by Grace McKeaney
Berkeley Repertory Theater: Play works
Staged readings of new plays
THE AUTHENTIC LIFE OF BILLY THE
KID by Lee Blessing, directed by David
Booth, December 16, 1982.
THE MARGARET GHOST by Carole Brav-
erman, directed by Terrence P. O'Brien, January
27, 1983.
FRIENDS by Lee Kalcheim, directed by Tena
Achen, February, 10, 1983.
Designers: scenery, Henry May, Richard Norgard, Bernard J. Vyzga, Tom Rasmussen; lighting,
Tom Ruzika, Greg Sullivan, Barbara Du Bois, Larry French; costumes, Deborah Brothers-
Lowry, Jeannie Davidson, Deborah Dryden, Tom Rasmussen.
IN FLIGHT by Robert Gordon, directed by
Barbara Oliver, March 10, 1983.
EINSTEIN IN IXTLAN by Scott Christopher
Wren, directed by Hope Alexander-Willis, April
7, 1983.
CAROLYN by Toni Press, directed by Tony
Amendola, June, 1983.
BOSTON
The Huntington Theater Company at Boston University
(Producing director, Peter Altman; managing director, Michael Maso; artistic advisor, Zelda
Fichandler)
NIGHT AND DAY (26). By Tom Stoppard.
October 23, 1982. Director, Toby Robertson.
With Caroline Lagerfelt, Jack Ryland, Edmond
Genest, Milledge Mosley, William Cain.
THE DINING ROOM (26). By A.R. Gurney
Jr. November 27, 1982. Director, Thomas
Gruenewald. With Denise Bessette, Lynn
Bowman, Peter Davies, Douglas Jones, Tanny
McDonald, Robert Stattel.
TRANSLATIONS (26). By Brian Friel. Direc-
tor, Jacques Cartier. January 8, 1983. With Jack
Aranson, Ray Dooley, Raymond Hardie, Linda
THE SEASON AROUND THE UNITED STATES
75
Kozlowski, Richard Seer, Eric Tull.
TIME AND THE CONWAYS (25). By J.B.
Priestley. April 23, 1983. Director, Elinor
Renfield. With Pauline Flanagan, Margaret
Whitton, Ralph Byers, Pamela Lewis, Karen
Sederholm.
THE TAMING OF THE SHREW (26). By Wil-
Ham Shakespeare. May 28, 1983. Director, Toby
Robertson. With Margot Dionne, David Purd-
ham, Anna Levine, George Hall, Richard
Poe.
Designers: scenery. Franco Colavecchia, James Leonard Joy, Richard Isackes, Hugh Land-
wehr; lighting, William Mintzer, Jeff Davis, Roger Meeker; costumes, Rachel Kurland, Mariann
Verheyen, Ann Wallace, Michaele Hite.
BUFFALO
Studio Arena Theater
(Artistic director, David Fr^nk; managing director, Michael P. Pitek III)
SHE STOOPS TO CONQUER (29). By Oliver
Goldsmith. September 24, 1982. Director, David
Frank. With Lenka Peterson, Clement
Fowler, Sam Tsoutsouvas, Wanda Simson, Ellen
Fiske, James Maxwell, Warren David Keith.
TRUE WEST (29). By Sam Shepard. October
29, 1982. Director, Kathryn Long. With Beeson
Carroll, Helen Harrelson, James Maxwell, Timo-
thy Meyers.
WITNESS FOR THE PROSECUTION (29).
By Agatha Christie. December 3, 1982. Director,
David Frank. With Holly Baron, Walter Bar-
rett, Kate Olena, John Clarkson, David Fred-
erick.
A RAISIN IN THE SUN (29). By Lorraine
Hansbury. January 7, 1983. Director, Harold
Scott. With Herb Downer, Theresa Merritt, Kim
Yancey, L. Scott Caldwell, Keith Mixon.
WEAPONS OF HAPPINESS (29). By Howard
Brenton. February 11, 1983 (American pre-
miere). Director, Geoffrey Sherman.
Josef Frank Robert Burr
Ralph Makepeace;
Russian Adviser Carl Schurr
Billy Evan Handler
Ken David Bottrell
Stacky Brett Porter
Janice Tara Loewenstern
Liz Nona Waldeck
Alf Dermot McNamara
Sylvia Makepeace Diana Van Fossen
Mr. Stanley John Rainer
Inspector Miller; Doubek;
Interrogator Doug Stender
Hicks; Kohoutek;
Interrogator Robert Spencer
Clementis Earle Edgerton
Stalin; Commentator Brian LaTulip
Waiter Brian DeMarco
Act I, Scene 1: Outside the Makepeace Crisp
Factory, South London, night, the present.
Scene 2: The factory yard, lunch break. Scene 3:
The factory office. Scene 4: A Czechoslovakian
interrogation room, 1952. Scene 5: The factory
office. Scene 6: A London street, early evening.
Scene 7: A Moscow street, night, 1947. Scene 8:
A London street, evening. Scene 9: London
dockland, night. Scene 10: The factory yard,
morning. Act II, Scene 1: A Czech prison yard
and the Makepeace factory. Scene 2: The fac-
tory yard, night. Scene 3: The factory by the
drain, night. Scene 4: The factory by the drain,
later. Scene 5: A snow covered field in Wales,
some time later.
IN THE SWEET BYE AND BYE (29). By Don-
ald Driver. March 18, 1983 (world premiere).
Director, John Henry Davis.
Hagen Addison Powell
Jessie Mary Carver
Neva Scotty Bloch
Carmel Alma Cuervo
Bill Leland Carl Schurr
Lamar Shooler Robert Spencer
Dale Shooler Gerald Halter
Act I, Scene 1: A kitchen in an Oregon farm-
house, a Wednesday in the present. Act II, Scene
1: Wednesday, one week later. Scene 2: Evening,
several hours later. Scene 3: Wednesday morn-
ing, one week later.
ABSURD PERSON SINGULAR (29) By Alan
Ayckbourn. April 22. 1983. Director, David
Frank. With Cynthia Carle, le Clanche du
Rand, Carl Schurr, John Rainer. Nancy
Mette, Robert Spencer.
76
THE BEST PLAYS OF 1982-1983
Designers: scenery, Robert Morgan, Gary C. Eckhart, J. Robin Modereger, Tom Cariello, Paul
Wonsek, Grady Larkins; lighting, Robert Jared, Robby Monk, Michael Orris Watson, Shirley
Prendergast, Rich Menke, Brett Thomas; costumes, Robert Morgan, Donna Langham, Judy
Dearing, Catherine B. Reich, Janice I. Lines.
CAMBRIDGE, MASS.
American Repertory Theater: Loeb Drama Center
(Artistic director, Robert Brustein; managing director, Robert J. Orchard).
THREE SISTERS (21). By Anton Chekhov;
translated and adapted by Jean-Claude van
Itallie. December 1, 1982. Director, Andrei
Serban. With Marianne Owen, Cherry Jones,
Cheryl Giannini, Jeremy Geidt, Alvin Ep-
stein, Thomas Darrah, Karen MacDonald.
G'NIGHT MOTHER (19). By Marsha Nor-
man. December 15, 1982. Director, Tom
Moore.
Mother Anne Pitoniak
Jessie, her daughter Kathy Bates
1983 Pulitzer Prize winner, later titled 'night,
Mother. No intermission.
WAITING FOR GODOT (23). By Samuel
Beckett. January 19, 1983. Director, Andrei
Belgrader. With John Bottoms, Mark Linn-
Baker, Tony Shalhoub, Richard Spore, Seth
Goldstein.
THE BOYS FROM SYRACUSE (23). Music by
Richard Rodgers; lyrics by Lorenz Hart; book by
George Abbott. February 23, 1983. Director,
Alvin Epstein; musical director-arranger, Paul
Schierhorn; choreographer, Kathryn Posin.
With Thomas Darrah, Stephen Rose, Harry
Murphy, Susan Larson, Jeremy Geidt, Marianne
Owen.
THE SCHOOL FOR SCANDAL (30). By Rich-
ard Brinsley Sheridan. May 13, 1983. Director,
Jonathan Miller. With Alvin Epstein, Cherry
Jones, Karen MacDonald, Stephen Rowe, Shir-
ley Wilber.
American Repertory Theater: Hasty Pudding Theater
BABY WITH THE BATHWATER (14). By
Christopher Durang. April 1983 (world pre-
miere). Director, Mark Linn-Baker. With
Cherry Jones, Karen MacDonald, Marianne
Owen, Stephen Rose.
HUGHIE by Eugene O'Neill, directed by Bill
Foeller; FOOTFALLS and ROCKABY by Sam-
uel Beckett, directed by John Grant-Phillips.
(14). April 7, 1983. With John Bottoms, Richard
Spore, Karen MacDonald, Marianne Owen.
Designers: scenery, Beni Montresor, Heidi Landesman, Tom Lynch, Patrick Robinson, Don
Soule; lighting Beni Montresor, James F. Ingalls, Jennifer Tipton, Thom Palm; costumes, Beni
Montresor, Heidi Landesman, Nancy Thun, Rosemary Vercoe, Liz Pearlman.
CHICAGO
Goodman Theater: Mainstage
(Artistic director, Gregory Mosher; managing director, Roche Schuler)
THE MAN WHO HAD THREE ARMS (29).
Written and directed by Edward Albee. October
4, 1982. With Robert Drivas, Wyman Pendle-
ton, Patricia Kilgarriff.
A CHRISTMAS CAROL (38). By Charles
Dickens; adapted by Barbara Field. November
29, 1982. Director, Tony Mockus. With William
J. Norris, Robert Thompson, Jamie Wild, Roger
Mueller, Del Close.
THE COMEDY OF ERRORS (37). By William
Shakespeare. January 24, 1983. Director, Robert
Woodruff. With the Flying Karamazov Broth-
ers (Timothy Furst, Paul Magid, Randy Nel-
son, Howard Patterson, Sam Williams), Sophie
Schwab, Gina Leishman.
THE DINING ROOM (29). By A. R. Gurney
Jr. March 14, 1983. Director, Michael Maggio.
With Joseph Guzaldo, Cordis Heard, B. J. Jones,
Linda Kimbrough, Pamela Nyberg, Rob Riley.
THE SEASON AROUND THE UNITED STATES
77
RED RIVER (30). By Pierre Laville; translated
by David Mamet. May 2, 1983 (American pre-
miere). Director, Robert Woodruff; composer-
conducter, William Harper; choreographer,
Charlie Vernon.
Vladimir Mayakovsky. . . Christopher McCann
Ludmilla Priakhina Jane Maclver
Mikhail Bulgakov John Spencer
Helena Bulgakov Caryn West
Woland Roy Brocksmith
Hella Mary McDonnell
Ermolinsky Mike Nussbaum
Goodman Theater: Studio
Behemoth Lionel Mark Smith
President; Kayenstsev;
Matthieu Levi D. W. Moffett
Adolescent; Actress Rebecca Cole
Actor; Student Allan Ruck
Time and Place: Post-Revolutionary Russia.
A SOLDIER'S PLAY (50). By Charles Ful-
ler. June 13, 1983. The Negro Ensemble Com-
pany's original production, directed by Douglas
Turner Ward.
OHIO IMPROMPTU; EH, JOE; A PIECE OF
MONOLOGUE (12). Program of one-act plays
by Samuel Beckett. January 18, 1983. Directors,
Alan Schneider, Rick Cluchey, David Warri-
low. Rocky Greenberg. With David Warrilow,
Rick Cluchey, Helen Gary Bishop.
MONOLOGUES (12) Written and performed
by Spalding Gray. February 1, 1983.
JUNGLE COUP (18). By Richard Nelson. Feb-
ruary 28, 1983 (world premiere). Director, David
Chambers.
Hopper Seth Allen
Mott Jack Wallace
Bellows Mike Nussbaum
GARDENIA (34). By John Guare. April 25,
1983. Director, Gregory Mosher. With Elizabeth
Perkins, Gary Cole, William L. Petersen, Rich-
ard Seer/David Perry, Jack Wallace.
HOT LINE by Elaine May; THE DISAPPEAR-
ENCE OF THE JEWS by David Mamet; GO-
RILLA by Shel Silverstein (18). June 14, 1983
(world premieres of one-act plays).
Hot Line directed by Art Wolf; with Elaine
May, Peter Falk, Del Close.
The Disappearance of the Jews directed by
Gregory Mosher; with Norman Parker, Joe
Mantegna.
Gorilla directed by Shel Silverstein; with Ron
Silver, Paul Guilfoyle.
Designers: scenery, John Jensen, Joseph Nieminski, David Gropman, Karen Schulz, Rocky
Greenberg, Kevin Rigdon, David Emmons, Franne Lee; lighting, F. Mitchell Dana, Robert
Christen, Paul Gallo, Jennifer Tipton; costumes, Barbara A. Bell, James Edmund Brady, Susan
Hilferty, Marsha Kowal, Teresita Garcia Suro, Nan Cibula, Franne Lee.
Note: Burr Tilstrom's Kukla and Ollie Live! returned for its 4th annual holiday presentation,
December 17, 1982. The Goodman also presented Writers in Performance, the prose and poetry of
South African, American and Caribbean authors now writing in the U.S., February 21, 1983, with
Dennis Brutus, Leon Forrest, James Allen McPherson and Derek Walcott reading from their own
works. On April 4, 1983 the series continued with poets and contemporary composers (Kathleen
Lombardo, Richard Wilbur, Lucian Stryk).
CINCINNATI
Cincinnati Playhouse in the Park: Robert S. Marx Theater
(Producing director, Michael Murray; managing director, Baylor Landrum)
INHERIT THE WIND (36). By Jerome Law-
rence and Robert E. Lee. September 28, 1982.
Director, John Going. With Paul C. Thomas,
David O. Petersen, Donna Adams, John
Wylie, Nancy Boykin, James Hillgartner, Jane
Welch.
THE WIZARD OF OZ (45). By L. Frank
Baum; adapted by Frank Gabrielson; music and
lyrics by Harold Arlen and E.Y. Harburg. No-
vember 16, 1982. Director and additional music
and lyrics by Worth Gardner. With Diane Delia
Piazza, Jack Hoffmann, Tony Holy. Peter
Moran, Tom Flagg.
THE DRESSER (36). By Ronald Harwood. Jan-
uary 4, 1983. Director. Josephine Abady. With
Jon Polito, John Wylie, Angela Thornton.
CINCINNATI PLAYHOUSE IN THE PARK— Thomas Calabro
and Cecile Callan in a scene from Sweet Basil by Lloyd Gold
MEDEA (36). By Euripides. February 22, 1983.
Director, Amy Saltz; chorus director, Theodore
Pappas. With Mary Lou Rosato, John Hert-
zler, Jay Devlin, Marge Kotlisky.
THE PRICE (36). By Arthur Miller. April 12,
1983. Director, Michael Hankins. With William
Kiehl, Nada Rowand, Stefan Schnabel, Brian
Smiar.
THE IMPORTANCE OF BEING EAR-
NEST (36). By Oscar Wilde. May 31, 1983. Di-
rector, Michael Murray. With Robert Black,
Ray Dooley, Rachel Gurney, Jessie K. Jones,
Diana Van Fossen.
Cincinnati Playhouse in the Park: Thompson Shelterhouse Theater
MASS APPEAL (24). By Bill C Davis. October
28, 1982. Director, Tom Toner. With Paul C
Thomas, Charles Shaw-Robinson.
FIFTH OF JULY (24). By Lanford Wilson.
February 3, 1983. Director, Leonard Mozzi.
With Charles Shaw-Robinson, Mark McCon-
nell, Lynn Ritchie, Dori Arnold, Anne Shrop-
shire.
SWEET BASIL (18). By Lloyd Gold; suggested
by a Boccaccio tale. March 29, 1983 (world pre-
miere). Director, Michael Murray.
Belle Mooney Cecile Callan
Naomi Boyle Anne Shropshire
Jimmy Mooney John P. Connolly
Tim Fogarty Timothy PhilHps
Enzo Basile Thomas Calabro
Time: The present. Place: New Orleans. One
intermission.
STRANGE SNOW (24). Written and directed
by Stephen Metcalfe. May 12, 1983. With Dave
Florek, Margo Martindale, Buck Schirner.
THE SEASON AROUND THE UNITED STATES
79
Designers: scenery, John Jensen, Paul R. Shortt, David Potts, Alison Ford. David Ariosa; lighting,
William Mintzer, Jeff Davis, Barry Arnold, F. Mitchell Dana, Jay Depenbrock; costumes. James
Berton Harris, Paul R. Shortt, Caley Summers, Kurt Wilhelm, Rebecca Senske, William
Schroder, Ann Firestone.
Note: Cincinnati Playhouse presented The Arkansaw Bear (4) by Aurand Harris, December 1 1 and
18, directed by Wendy Liscow, with the Playhouse Intern company.
CLEVELAND
The Cleveland Play House: Drury Theater
(Director, Richard Oberlin; managing director, Janet Wade)
APPEAR AND SHOW CAUSE (31). By Ste- Redgrave, Cassandra Wolfe.
phen Taylor; adapted from a story by Leon H.
Gilpm and Stephen Taylor. October 8, 1982 TOMFOOLERY (36). Words and music by
(world premiere). Director, Woodie King Jr. ^om Lehrer; adapted by Cameron Mackm-
Frank Harrow Ray Aranha ^^^^ ^"^ ^o^'" ^^y January 14, 1983. Director,
Noah Lincoln Keyes Graham Brown ^>l''^"i Roudebush. With Cliff Bemis, Paul A.
Joshua Harrow Marcus Naylor Flonano, Jill Hayman, Robert D. Phillips.
Maj. Evans Chandler Morgan Lund ^EY EXCHANGE (36). By Kevin Wade.
Sgt. Andrew "L.C." Smith. . Paul A. Floriano ^^^^^ 4 ,933 Director, Dennis Zacek. With
Sgt. Hugh Connor Allan Byrne Anthony Kitrell, Lisa Kitrell, William Roude-
Lt. Peter Carlsen William Roudebush \:^\xs\\
Col. Harlan Philips James P. Kisicki
Colonel; Brigadier General; President THE ROBBER BRIDEGROOM (33) Book
of Board of Inquiry Allen Leatherman and lyrics by Alfred Uhry; music by Robert
Waldman; based on Eudora Welty's novella.
BLACK COFFEE (36). By Agatha Christie. ^pril 8, 1983. Director. Michael Maggio; musi-
November 19, 1982. Director, Paul Lee. With ^^j director, David Gooding. With Cliff
Richard Halverson, Paul Lee, Thomas S. Ole- ^^^^^^ JhtrtS2. Piteo, Richard Halverson. Evie
niacz, Anthony Kitrell, Lisa Kitrell, Alden McElrov
The Cleveland Play House: Euclid-77th Street Theater
FIFTH OF JULY (26). By Lanford Wilson. Oc- TEN TIMES TABLE (36). By Alan Ayck-
tober 22, 1982. Director, Michael Maggio. With bourn. March 25, 1983. (American professional
Evie McElroy, William Rhys, Gregory M. Del premiere). Director, Paul Lee.
Torto, Catherine Albers, Jill Hayman. Ray Dixon Morgan Lund
Helen Carolyn Reed
A TALE OF TWO CITIES (26). By Charles Donald Evans James P. Kis.cki
Dickens; adapted by Mark Fitzgibbons; music by Audrey Evans Alden Redgrave
David Gooding. January 28, 1983. Director, Lawrence Adamson Allen Leatherman
William Rhys. With Si Osborne, John Buck ^^^^^^ Sharon Bicknell
Jr., Morgan Lund, Tracee Patterson and mem- -j-j^ Thomas S. Oleniacz
bers of the company. g^ic Si Osborne
Philippa Tracee Patterson
The Cleveland Play House: Brooks Theater
THE MIDDLE AGES (40). By A. R. Gurney ary 21. 1983. Director. Thomas Riccio. With
Jr. October 15. 1982 (reopened at the Drury, Thomas S. Oleniacz, Catherine Albers.
May 11, 1983). Director, Harper Jane McA- _,, „__^ ,„. ,. ,^ ^
doo With Wayne S. Turney, Richard Halver- THE POTSDAM QUARTET (18) By Dav.d
son. Sharon Bicknell, Carolyn Reed. P*""^'" ^P"' '5, 1983. Director Wil ham
Roudebush. With Paul Lee. John Buck Jr., Ron
SEA MARKS (18). By Gardner McKay. Janu- Newell, Kelly C. Morgan.
80
THE BEST PLAYS OF 1982-1983
Designers: scenery and lighting, Richard Gould, James Irwin; costumes, Estelle Painter, Frances
Blau, Richard Gould, Jeff Smart, Kim A. Trotter.
Note: The Middle Ages was presented for a limited engagement June 1-19 in Columbus, Ohio.
Youtheater, the Cleveland Play House young people's acting school, presented an original musical,
Billie And Her Hillbilly Barnyard Band (4) by Cassandra Wolfe and Robert Noll, with music by
David Pogue, at the Drury Theater April 22. Directors, Kerro Knox III, Elizabeth Farwell; musical
director-orchestrater, David Wolfson, with Youtheater students making up the cast.
Great Lakes Shakespeare Festival: Ohio Theater
(Producing director, Vincent Dowling)
AS YOU LIKE IT (12). By William Shakes-
peare. July 9, 1982. Director, Thomas Gruene-
wald. With Clive Rosengren, Maggie
Thatcher, Madylon Branstetter, Michael
Haney, Tom Blair, Robert Elliott.
THE PLAYBOY OF THE WESTERN
WORLD (15). By John Millington Synge. July
16, 1982. Director, Vincent Dowling. With
Frank Grimes, Larry Gates, Clive Rosengren,
Barbre Dowling, Aideen O'Kelly.
PIAF: LA VIE L' AMOUR (13). Written and
performed by Gay Marshall, with Lane Bate-
man. August 5, 1982. Director, Vincent Dowl-
ing with Marcia Rock; musical arranger-conduc-
tor, Robert Ashens.
THE LIFE & ADVENTURES OF NICHO-
LAS NICKLEBY (46). By Charles Dickens;
adapted by David Edgar; music and lyrics by
Stephen Oliver. Part I, August 26, 1982; Part
II, August 27, 1982. Directors, Robert
Lanchester and Edward Stern. With David
Purdham, Maggie Thatcher, Bob Breuler, Sara
Woods.
A CHILD'S CHRISTMAS IN WALES (23). By
Dylan Thomas; adapted by Jeremy Brooks and
Adrian Mitchell December 1983. Director, Cli-
fford Williams; musical director, Daniel Ha-
thaway. With Neal Jones, Nesbitt Blaisdell, Mar-
garet Hilton, Edith Owen, Malachy McCourt,
Sylvia Gassell.
Designers: scenery, John Ezell; lighting, Roger Morgan, Kirk Bookman, Toni Golden, Natasha
Katz; costumes. Gene Lakin, Paul Costelloe, Mary-Anne Aston, Lewis D. Rampino.
COCONUT GROVE, FLA.
Players State Theater
(Artistic advisor, Jose Ferrer; managing director, G. David Black)
THE DRESSER (29). By Ronald Harwood. A DESTINY WITH HALF MOON
November 5, 1982. Director, Douglas Seale. STREET (29). By Paul Zindel. March 4, 1983
With Jose Ferrer, Michael Tolaydo, Brenda (world premiere). Director, Jose Ferrer.
Curtis. Harold Farley Rafael Ferrer
Floyd DiPardi Danny Aiello
FIFTH OF JULY (29) By Lanford Wilson. De- j^rs. DePardi Sondra Barrett
cember 3, 1982. Director, Kent Stephens. With rj^i^j^. Hospital Attendant
Eric Conger, Linda Stephens, Betty Leighton, ^^ j Lenny Pass
Suzanne Calvert, Don Spaulding. Leroy; Hospital Attendant
A COUPLA WHITE CHICKS SITTING ^o. 2 Martin Patrick Tobin
AROUND TALKING (29). By John Ford Nurse Helen Boyd Anne Meacham
Noonan. January 7, 1983. Director, James Chris Boyd ^ Brian Backer
Riley. With Megan McTavish, Annie Stafford. •'°^- • „" ' " ' "r.' ' ' " : i ^^"^*f ^f ^^^
Other boys: Randy Bass, Alan Curelap, Scott
FALLEN ANGELS (29). By Noel Coward. Stuart.
February 4, 1983. Director, Frith Banbury. With Time: 1955. Place: The DiPardi home,
Tudi Wiggins, Peggy Cosgrove, Ronald Shel- Prince's Street, Staten Island. Act I, Scene 1:
ley, Peter Haig, Alfredo Alvarez-Calderon. Morning. Scene 2: Afternoon, the following day.
THE SEASON AROUND THE UNITED STATES
81
Scene 3: A little later. Scene 4: That evening. Act
II, Scene 1: The next morning. Scene 2: Later
that afternoon. Scene 3: That evening. Scene 4:
Later, the same night. One intermission.
WITNESS FOR THE PROSECUTION (45).
By Agatha Christie. April 1, 1983. Director,
Douglas Seale. With Daren Kelly, James Val-
entine, Richard Liberty, Jennifer Sternberg.
Designers: scenery, David Trimble, Kenneth N. Kurtz, H. Paul Mazer, Marsha Hardy; lighting,
David Goodman, Kenneth N. Kurtz, Pat Simmons, Stephen Welsh; costumes, Claire Gatrell, Ellis
Tillman, Steve Lambert, David Trimble, Barbara Forbes.
Note: Players State Theater officially became the Coconut Grove Playhouse in April 1983. It toured
two children's theater productions: The Sleeping Prince (24), adapted and directed by David Robert
Kanter from the African folktale Fenda Maria, toured Dade County parks July 12-30, 1982. During
the winter of 1983, the touring production was Pepperpot (54) by Susan Westfall; music and lyrics
by Roberto Lozan; director, Tony Wagner.
COSTA MESA, CALIF.
South Coast Repertory: Mainstage
(Producing artistic director, David Emmes; artistic director, Martin Benson)
ALL IN FAVOUR SAID NO! (39). By Bernard 1982. Director, John-David Keller. With Hal
Farrell. September 14, 1982 (American pre- Landon Jr., John Ellington, Charlie Cummins,
miere). Director, David Emmes. Don Tuche.
Gilbert Donnelly Tom Rosqui
Christy Metcalf Paul Rudd B^Y MEETS GIRL (39). By Bella and Samuel
Dave Steven Breese Spewack. January 11, 1983. Director, Lee
Liam Jeffrey Combs Shallat. With Kristoffer Tabori, Hal Landon
Miss Temple ^^[^'.'.'.'.'.'.'.'. Patricia Eraser ^'- ^>"*^"^ Bogert, Diane dePriest. Wayne
Sally Mary Beth Evans Alexander.
Mike Reynolds Hal Landon Jr. BETRAYAL (38). By Harold Pinter. February
Dee Kavanaugh Kendall McLean 22, 1983. Director, David Emmes. With Thomas
Eddie Malone Richard Doyle r Oglesby, Cecelia Riddett, Dan Kern, Art
Una Kristen Lowman Koustik
Joan Anni Long
Ronnie Partridge John-David Keller THE IMAGINARY INVALID (39) By Mo-
Time: The present. Place: The offices of Don- here. April 12, 1983. Director, Richard Russell
nycarney Metal Works. One intermission. Ramos. With Raye Birk, Kristen Lowman, Irene
Roseen, Wayne Alexander, Robert Machray,
THE DIVINERS (39). By Jim Leonard Jr. Octo- john-David Keller, Ron Bousson, Michelle
ber 26, 1982. Director, Martin Benson. With Wallen
Don Tuche, John Walcutt, Jeffrey Combs, Joe
McNeely, Rita Rene Stevens, Emily Heebner, MAJOR BARBARA (39). By George Bernard
Thomas R. Oglesby, Wayne Grace, Martha Shaw. May 24, 1983. Director, Martin Ben-
McFarland, Sylvia Meredith, Patti Johns. son. With Kathleen Lloyd, John Ellington, Reid
Shelton, Paul Rudd, Richard Doyle, Patricia
A CHRISTMAS CAROL (22). By Charles p^aser.
Dickens; adapted by Jerry Patch. December 8,
South Coast Repertory: Second Stage
BROTHERS (21). By George Sibbald. Novem-
ber 3, 1982 (world premiere). Director, Lee
Sankowich. With George Murdock, Joe Pan-
toliano, Jonathan Terry, Dennis Franz, David
Ralph.
SHE ALSO DANCES (21) By Kenneth Ar-
nold. January 19, 1983 (world premiere). With
Patti Johns, Marc Vahanian. (See synopsis in the
introduction to this section.)
CLOSELY RELATED (21) By Bruce Mac-
Donald. March 2, 1983 (world premiere). Direc-
tor, Lee Shallat.
82
THE BEST PLAYS OF 1982-1983
Melissa Lycia Naff
Alan Stephen Keep
Alison Penelope Windust
Tim Kaz Garas
Christian Brad Cowgill
Myrna Laura Campbell.
Time: The present. Place: In and about a large
American city. One intermission. (See synopsis
in the introduction to this section.)
GOODBYE FREDDY (21). By Elizabeth
Diggs. April 20, 1983 (world premiere). Direc-
tor, Jules Aaron. With Andrew Prine, Pamela
Dunlap, Charles Parks, Joan Welles, Timothy
Shelton, Susan Barnes.
APRIL SNOW (21). By Romulus Linney. June
1, 1983 (world premiere). Director, David
Emmes. With Jordan Charney, Scott Hylands,
K. Callan, Rhonda Aldrich, Brad Cowgill.
Designers: scenery, Michael Devine, Susan Tuohy, Cliff Faulkner, Mark Donnelley, Thomas A.
Walsh, John Ivo Gilles; lighting, Cameron Harvey, Tom Ruzika, Donna Ruzika, Paulie Jenkins, Greg
Sullivan, Richard Devin; costumes, Tom Rasmussen, Merrily Murray-Walsh, Dwight Richard
Odle, Carol Brolaski, Skipper Skeoch, Kim Simmons, Barbara Cox.
Note: In the 1982-83 season. South Coast Repertory presented new play readings: The Sea Lion by
Robert Potter, Diane by Gregory Gorelick, Goodbye Freddy by Elizabeth Diggs and She Also
Dances by Kenneth Arnold.
DALLAS
Dallas Theater Center: Kalita Humphreys Theater
(Artistic director, Mary Sue Jones; general manager, Albert Milano; founder, Paul Baker)
THE GIN GAME (46). By D.L. Coburn. July
6, 1982. Director, Karl Guttmann, with Felix
Guttman. With Patricia Fraser, Warren
Frost.
THE THREE MUSKETEERS (46). By Peter
Raby; adapted from Alexandre Dumas's novel.
October 12, 1982. Director, David Pursley. With
Richard Raether, Cliff Stephens, Royal Brant-
ley, Lee Lowrimore, Norma Moore.
A MURDER IS ANNOUNCED (46). By Aga-
tha Christie; adapted by Leslie Darbon. Decem-
ber 7, 1982. Director, Robyn Flatt. With Jeff
Kinghorn, Jeanne Cairns, Judith Davis.
A LESSON FROM ALOES (46). By Athol
Fugard. February 8, 1983. Director, Judith
Davis. With James Hurdle, Jenny Pichanick,
Paul Winfield.
THE THREEPENNY OPERA (46). book and
lyrics by Bertolt Brecht; music by Kurt Weill;
English adaptation by Marc Blitzstein. March
29, 1983. Director, Ivan Rider; musical director,
Raymond Allen. With Christopher Councill,
Candy Buckley, Gary Moody, Sandy Rowe,
Marcee Smith, Ronald Wilcox, Lou Williford.
THE DRESSER (46). By Ronald Harwood.
May 24, 1983. Director, Mary Sue Jones. With
Jack Gwillim, Randy Moore, Synthia Rogers.
Dallas Theater Center: Down Center Stage
EMBARCADERO FUGUE (22). By Thomas
Strelich. November 2, 1982. Director, Kaki
Hopkins. With Andrew Way, Anna Heins, Bar-
bara Enlow, Andrew Christopher Gauff.
TOPEKA SCUFFLE (22). By Paul Munger.
January 11, 1983 (world premiere). Director,
Dennis Vincent.
Johnny Jarrod Michael Dendy
Steve Miles Geoffrey Ward
Billy Mimms Russell Henderson
Tony Karl Schaeffer.
Place: A janitorial storage room of a large,
old municipal coliseum in Topeka. One intermis-
sion.
THE PRIDE OF THE BRITTONS (22). By
Kenneth Robbins. March 1, 1983 (professional
premiere). Director, Randy Bonifay.
Louisa Britton Eleanor Lindsay
Old Man Britton Barry Nash
Mrs. Britton Lynn Trammell
Solomon Mears T. R. Green
Jonathan Nye Lee Lowrimore
Cristy McMann David Edwards
Ida Mosely Susan McDaniel Hill
Time: 1864. Place: Central South Carolina.
One intermission.
ANGEL AND DRAGON (22). By Sally Net-
zel. April 19, 1983 (world premiere). Director,
DALLAS THEATER CENTER— Virginia McKinney, Kaki Dowling
Hopkins (seated) and Jillian Raye in Angel and Dragon by Sally Netzel
B. Jack Jones. Act I, Scene 1: New York City, 1945. Scene 2:
Maggie Irving Kaki Dowling Hopkins Paris, 1890. Scene 3: Paris, 1895. Scene 4: Paris,
Model Virginia McKinney 1900. Act II, Scene 1: Paris 1917. Scene 2: Paris,
Anna Forbish Jillian Raye 1925. Scene 3: New York City, 1945.
Dallas Theater Center: Brookhaven Community College Theater Center
A CHRISTMAS CAROL (13). By Charles Buckley. With Randy Moore. Harl Asoff. Arthur
Dickens; adapted by John Figlmiller and Sally Olaisen, John Figlmiller, Lynne Moon.
Netzel. December 10, 1982. Director, Candy
Dallas Theater Center: Magic Turtle Children's Theater
THE LION, THE WITCH AND THE JANE EYRE (8). By Charlotte Bronte; adapted
WARDROBE (8). By C S. Lewis. October 23, by John Logan. January 8, 1983. Director. Mary
1982. Director, Eleanor Lindsay. Lou Hoyle. With Susan G. Neely, Art Moss.
84
THE BEST PLAYS OF 1982-1983
STEP ON A CRACK (9). By Susan Zeder. Feb-
ruary 19, 1983. Director, Kenneth Hill.
OZ, LAND OF MAGIC (9). Book and lyrics by
Jim Marvin; music by Randolph Tallman and
Joe Cox; based on the Oz books by L. Frank
Baum. April 9, 1983. Director, Paul Munger;
musical director, Merlaine Angwall; choreogra-
phy, Gary Whitehead, Daniel Stephens, Lynne
Moon.
Dallas Theater Center: Eugene McKinney New Play Readings
UNCOMMON DENOMINATORS by Mark
Donald. October 25, 1982.
WIDOW'S WATCH by Jeffrey Kinghorn; direc-
tor, Peter Lynch. November 15, 1982.
THE DREAM MACHINE by Deborah A.
Kinghorn; director, Eleanor Lindsay. January
24, 1983.
MEN WITH TATTOOS AND LADIES WHO
WORK IN LAUNDERIES by Annabelle
Weenick; director, Hanna Cusick. February 21,
1983.
MAN TIME AT THE RIVER PLACE by
Thomas W. Stephens. March 14, 1983.
TAP DANCING ACROSS THE UNI-
VERSE by William Borden; director, Octavio
Solis. April 18, 1983.
THE IS NOT by William Kirk; director, Mer- _
laine Angwall. May 2, 1983.
FAMILY HONOR AND OTHER ILLU-
SIONS by Smith OHver. May 9, 1983.
Designers: scenery, Peter Lynch, Robert Duffy, Zak Herring, Virgil Beavers, Stella McCord, Sally
Askins, Irene Corey, John H. Landon; lighting, Randy Bonifay, Robyn Flatt, Ken Hudson, Robert
Duffy, Randy Moore, John Vigna, Terrie Clark, Barbara Sanderson, Linda Blase, John H. Lan-
don; costumes, Tim Haynes, Stella McCord, Sally Askins, Deborah Kinghorn, Lynne Moon, Russell
Henderson, Ann Stephens, Irene Corey, Felicia Denney, Carol Miles, John Vigna.
EVANSTON, ILL.
North Light Repertory: Mainstage.
(Artistic director, Michael Maggio; managing director, Jeffrey Bentley)
WHO'S AFRAID OF VIRGINIA WOOLF?
(47). By Edward Albee. September 11, 1982. Di-
rector, Eric Steiner. With Jack McLaughlin-
Gray, Megan McTavish, Laurie Metcalf, Rick
Snyder.
FILTHY RICH (43). By George F. Walker. No-
vember 6, 1982. Director, Robert Woodruff.
With Ron Parady, P.J. Barry, Diane
D'Aquila, Brooks Gardner, Michael Groden-
chik, Maria Ricossa.
DUET FOR ONE (48). By Tom Kempinski.
North Light Repertory: Satellite Season
THE EARLY MALE YEARS (6). By John
McNamara. October 27, 1982. Director, Mary F.
Monroe. With Debra Engle, Pam Gay, Johnny
Heller, Edward Henzel, James W. Sudik.
DOUGLAS (7). A dramatic portrait of William
O. Douglas by Robert Litz. March 2, 1983
(world premiere). Director, David Rotenberg.
With Glenn Mazen.
Time: An hour or so before noon, Wednesday,
Nov. 12, 1975. Place: Suite 108, the Supreme
January 5, 1983. Director, Jeffrey Haden. With
Eva Marie Saint, Milton Selzer.
CHILDREN (47). By A. R. Gurney Jr.; based
on a story by John Cheever. March 12, 1983.
Director, Mary F. Monroe. With Allison
Giglio, Fern Persons, Elizabeth Smith, Peter
Syversten.
THE IMPROMPTU OF OUTREMONT (40).
By Michel Tremblay; translated by John Van
Burek. May 7, 1983. Director, Eric Steiner. With
Pauline Brailsford, Laurel Cronin, Diane
D'Aquila, Allison Giglio.
Court Building, Justice Douglas's Chambers.
One intermission.
DEMOLITION JOB (6). By Gordon Gra-
ham. April 27, 1983 (American premiere). Di-
rector, Edward Stern.
Kelvin Jeff Ginsberg
Roy Joe D. Lauck
Quentin Robert Browning
Time: The present. Place: A derelict school-
room. One intermission.
THE SEASON AROUND THE UNITED STATES
85
Designers: scenery, Nels Anderson, Michael Merritt, David Emmons. Bob Barnett, Shawn
Kerwin, Nan Zabriskie; hghting. Dawn Holhngsworth, Robert Shook; costumes, Kate Bergh, Jordan
Ross, Jessica Hahn, Nan Zabriskie.
Note: Emlyn Williams appeared in Dylan Thomas Growing Up (14) from Dec. 12 to Jan. 2.
HARTFORD
\ Hartford Stage: John W. Huntington Theater
(Artistic director, Mark Lamos; managing director, William Stewart)
ON BORROWED TIME (44). By Paul Os-
born. September 24, 1982. Director, Tony Gi-
ordano. With C. B. Barnes, William Swetland,
Leora Dana, Sloane Shelton, Maurice Cope-
land.
THE GREAT MAGOO (46). By Ben Hecht and
Gene Fowler. November 12, 1982. Director,
Mark Lamos. With Robert Blumenfeld, Robert
Machray, Michael O'Hare.
THE PORTAGE OF SAN CRISTOBAL OF A.
H. (44). Adapted by Christopher Hampton; from
the novel by George Steiner. December 31, 1982
(American premiere). Director, Mark Lamos.
Emmanuel Lieber Robert Blumenfeld
Simeon Alan Mixon
Gideon Benasseraf Mark Zeller
John Asher Ian Stuart
Elie Barach Mordecai Lawner
Isaac Amsel Dennis Bacigalupi
Guard #1; an Indian;
Reporter Mark Wayne Nelson
Guard #2, Teku Talbott Dowst
A. H John Cullum
Prof. Ryder; Grusdev;
Dr. Rothling; Josquin .... Robert Blackburn
Col. Shepilov; Luckyer Thomas Carson
Hoving; Hanfmann;
Reporter Jerry Allan Jones
Kulken; Reporter Robert Machray
Indian Woman; Reporter Carla Dean
Marvin Crownbacker;
Reporter Michael O'Hare
Anna Rothling;
Reporter Ann-Sara Matthews
Time: May 1970. Places: Tel Aviv, the jungle.
Oxford, Moscow, Orosso, Koln, Paris, Washing-
ton. One intermission.
DOG EAT DOG (44). By Mary Gallagher. Feb-
ruary 18, 1983 (world premiere). Director. Mary
B. Robinson.
Marina Foley Susan Pellegrino
Al Foley Lewis Arlt
Charlie Flynn Peter Boyden
Fred Talbot Robert Nichols
Colleen Flynn Jeanne Michels
Woman Lynn Cohen
Edith Talbot Jane Connell
Dell Brown Vic Polizos
Flynn children: Denise Desimone, Justin
McGlamery, Kayden Will.
One intermission.
THE MISANTHROPE (48). By Moliere. April
5, 1983. Director, Mark Lamos. With Nicholas
Woodeson, Tandy Cronyn, Pamela Payton-
Wright, Will Lyman, Ivar Brogger.
THE GLASS MENAGERIE (44). By Tennessee
Williams. May 27, 1983. Director. George
Keathley. With Jan Miner, Eric Roberts. Laura
Hughes, Kevin Geer.
Designers: scenery, Karen Schulz, Tony Straiges, John Conklin. Andrew Jackness. Kevin Rup-
nik, Santo Loquasto, Paul Gallo, Arden Fingerhut, Pat Collins, Robert Jared, James F. Ingalls;
costumes, David Murin, Linda Fisher, Merrily Murray-Walsh, Nan Cibula, Dunya Ramicova. Santo
Loquasto.
HOUSTON
The Nina Vance Alley Theater: Large Stage
(Artistic director, Pat Brown; associate artistic director. George Anderson; managing director.
Tom Spray)
THE UNEXPECTED GUEST (16). By Agatha
Christie. July 15, 1982. Director. John Vreeke.
With Andrew Smoot. Robin Moseley. Michael
LaGue. Bob Burrus. Patricia Kilgarriff.
HARTFORD STAGE — Lewis Arit and Susan Pellegrino in a scene from
Dog Eat Dog by Mary Gallagher
HOME (16). By Samm-Art Williams. August 31,
1982. Director, Horacena J. Taylor. With the
Negro Ensemble Company.
CLOSE TIES (38). By Elizabeth Diggs. October
14, 1982. Director, Pat Brown. With Ruth
Nelson, Lillian Evans, James E. Brodhead.
THE RIVALS (44). By Richard Brinsley
Sheridan. November 25, 1982. Director, John
Going. With Daydrie Hague, Jeannette Clift,
John Cagan, Glynis Bell, Dan LaRocque, Jim
McQueen, Robert Graham.
NUTS (38). By Tom Topor. January 13, 1983.
Director, Charles Abbott. With Robin Mose-
ley, Jean Proctor, Bob Burrus, Dale Helward,
Jim McQueen, Rutherford Craven.
THE VISIT (38). By Friedrich Duerrenmatt;
translated by Maurice Valency. February 24,
1983. Director, Beth Sanford. With Ruth
Ford, Bruce Hall, Dale Helward, Robert Gra-
ham, Philip Fisher.
THE DINING ROOM (38). By A.R. Gurney
Jr. April 14, 1983. Director, Beth Sanford. With
Laurie Daniels, Lillian Evans, Bettye Fitzpa-
trick, Robert Graham, Dan LaRocque, Jim
McQueen.
TAKING STEPS (38). By Alan Ayckbourn.
May 25, 1983. Director, Robert Graham. With
Holly Villaire, Jim Bernhard, Marry Barry, John
Cagan.
The Nina Vance Alley Theater: Arena Stage
GREATER TUNA (32). Written and performed
by Jaston Williams and Joe Sears. July 29, 1982.
FIFTH OF JULY (42). By Lanford Wilson. De-
cember 9, 1982. Director, Neil Havens. With
John Woodson, Bettye Fitzpatrick, William
Johnson, Dede Lowe, Cynthia Lammel.
FAMILY BUSINESS (28). By Dick Gold-
berg. January 14, 1983. Director, George An-
derson. With Timothy Arrington, John Wood-
son, James Belcher, Michael
LaRocque, Larry Schneider.
LaGue, Dan
HOW I GOT THAT STORY (28). By Amlin
Gray. March 10, 1983. Director, Pat Brown.
With John Woodson, Michael LaGue.
HOLY GHOSTS (16). Written and directed by
Romulus Linney. April 28, 1983. With Bob
Burrus, Cynthia Lammel, Blue Deckert, Bran-
don Smith.
THE SEASON AROUND THE UNITED STATES
87
Lunchtime Theater: Arena
SCENES FROM AMERICAN LIFE by A.R.
Gumey Jr. directed by Beth Sanford; PVT
WARS by James McLure, directed by Michael
LaGue (14). September 30, 1982.
Monday Night Live: Staged readings
A LAND BREEZE by Jean Lenox Toddie,
directed by Beth Sanford, November 8, 1982.
FAN DANCE by Monty Philip Holamon, di-
rected by John Vreeke, December 13, 1982.
THE BUNKHOUSE by Terrence Ortwein, di-
rected by George Anderson, March 2, 1983.
Designers: scenery, Michael Olich, Felix E. Cochren, Michael Miller, John Jensen, William
Bloodgood, John Carver Sullivan, Robert Blackman, Keith Belli, James F. Franklin, Keith Hein;
lighting, Jonathan Duff, William H. Grant III, James Sale, Gregory Sullivan, Sean Murphy, Penny
Remsen; costumes, Tom McKenley, Alvin B. Perry, Mariann Verheyen, Tom Rasmussen, Ainslie
Bruneau, Robert Blackman, John Carver Sullivan, Rosemary Ingham.
Note: Nina Vance Alley Theater presented the following plays for young people during the 1982-83
season: The Prince and the Pauper, adapted by Charlotte B. Chorpenning; Pinocchio by Carlos
Collodi; and Yellow Brick Road.
INDIANAPOLIS
THE AMERICAN DREAM (18). By Edward
Albee. March 17, 1983. Director, John
Vreeke.
NOTHING IMMEDIATE by Shirley Lauro, di-
rected by George Anderson; BLANKO by Sam
Havens, directed by John Vreeke; HOMER by
Thomas Gibbons, directed by Beth Sanford. May
9, 1983.
Indiana Repertory Theater: Mainstage
(Artistic director, Tom Haas; managing director, Len Alexander)
A MIDSUMMER NIGHTS DREAM (23). By
William Shakespeare. October 15, 1982. Direc-
tor, Tom Haas. With James Tasse, Jennifer
Dunegan, Craig Fuller, Karen Nelson, Dallas
Greer. Scott Wentworth, Henry J. Jordan, Pris-
cilla Lindsay.
BILLY BISHOP GOES TO WAR (48). By John
Gray with Eric Peterson. November 11, 1982.
Director, Ben Cameron. With Christopher
McCann, Steven A. Freeman.
TARTUFFE (23). By Moliere; translated by
Richard Wilbur. January 7, 1983. Director,
David Rotenberg. With Henry J. Jordan, Lowry
Miller, Bella Jarrett, Priscilla Lindsay, Jennifer
Dunegan, Scott Wentworth, Craig Fuller.
YOU CANT TAKE IT WITH YOU (23). By
George S. Kaufman and Moss Hart. February
11, 1983. Director, Ben Cameron. With Bella
Jarrett, Priscilla Lindsay, Avery Sommers, Barry
McGuire, Frank Raiter.
DESIRE UNDER THE ELMS (23). By Eugene
O'Neill. March 18, 1983. Director, Tom
Haas. With Tana Hicken, Scott Wentworth,
Craig Fuller, Terry Moore, Marco St. John.
PAL JOEY (23). Book by John O'Hara, music
by Richard Rodgers, lyrics by Lorenz Hart.
April 22, 1983. Director, Tom Haas; chore-
ographer, Peter Anastos; musical director;
James Kowal. With Scott Wentworth, Ber-
nadette Galanti, Beverley Boseman, Bernard
Kates.
Indiana Repertory Theater: Upper Stage
A CHRISTMAS CAROL (39). By Charles
Dickens; adapted by Tom Haas. November 19,
1982. Director, Scott Wentworth. With Frank
Raiter, Craig Fuller, Demian Hostetter, Bella
Jarrett, Doug Johnson, Stephen Preusse.
Designers: scenery, Steven Rubin, Bob Barnett, Douglas Stein, Russell Metheny, Ming Cho
Lee, Michael Yeargan, Karen Schulz; lighting, Craig Miller, Stuart Duke, William Armstrong,
88
THE BEST PLAYS OF 1982-1983
Rachel Budin; costumes, Bill Walker, Michael Yeuell, Gene K. Lakin, Judianna Makovsky, Swan
Hilfery, Martha Kelly.
Note: IRT's Cabaret Theater presented original material by Tom Haas (directed by Ben Cam-
eron, with musical direction by staff members), as well as guest artists and productions.
KANSAS CITY, MO.
Missouri Repertory Theater: Helen F. Spencer Theater
(Producing director, Patricia Mcllrath)
ANTHONY AND CLEOPATRA (20). By Wil-
Ham Shakespeare. July 8, 1982. Director, Eric
Vos. With Claude Woolman, Juliet Randall,
Richard Gustin, Robert Lewis Karlin, Ken
Latimer.
HAY FEVER (18). By Noel Coward. July 15,
1982. Director, Francis Cullman. With Peg
Small, Jim Birdsall, Rob Knepper, Sarah Nail.
THE MAGNIFICENT YANKEE (17). By
Emmet Lavery. July 29, 1982. Director, Albert
Pertalion. With Robert Lewis Karlin, Robin
Humphrey, Tom Small, Ken Latimer, Geoffrey
Beauchamp, Claude Woolman.
TERRA NOVA (18). By Ted Tally. September
9, 1982. Director, James Assad. With Jack
Aranson, Ronald Wendschuh, Sarah Nail, Mar-
tin Marinaro, Jim Birdsall, Rob Knepper, Ken
Latimer.
A CHRISTMAS CAROL (30). By Charles
Dickens, adapted by Barbara Field. December 1,
Designers: scenery, John Ezell, Tom Schenk, Wray Steven Graham, Harry Feiner, David
Potts; lighting, Joseph Appelt, Ruth E. Ludwick, Keri Muir, Robert Jared; costumes. Baker S.
Smith, Tom Schenk, John Carver Sullivan, Vincent Scassallati, Judith Dolan.
1982. Director, James Assad. With Jim Bird-
sail, Peter Umbras, David Schuster, Piper
Carter, Becca Ross.
THE INNOCENTS (19). By William Ar-
chibald, based on Henry James's The Turn of the
Screw. January 27, 1983. Director, Cedric
Messina. With Peg Small, Sarah Nail, Melissa
Judd/Laura Schaefer, Aleksander Peterson/
Chris Koeberl, Randy Messersmith.
TRANSLATIONS (18) By Brian Friel. Febru-
ary 3, 1983. Director, Vincent Dowling. With
Gary Neal Johnson, Becca Ross, Mark Rob-
bins, Richard Gustin, Margaret Humphreys,
Robert Lewis Karlin, Cynthia M. Rendlen, Jim
Birdsall.
NICHOLAS NICKLEBY (17). By Charles
Dickens, adapted by David Edgar. March 18
(Part I) and March 19, 1983 (Part II). Directors,
Leon Rubin, James Assad. With Jeffrey
Hayenga, Peg Small, Sarah Nail, David Bar-
ron, Company.
LOS ANGELES
Center Theater Group: Ahmanson Theater
(Artistic director, Robert Fryer)
A LITTLE FAMILY BUSINESS (51). Adapted
by Jay Presson Allen from a play by Barillet and
Gredy. October 8, 1982 (American premiere).
Director, Vivian Matalon; production supervi-
sor, Martin Charnin.
Lillian Angela Lansbury
Ben John McMartin
Nadine Joanna Gleason
Scott Anthony Shaw
Connie Ann Risley
Sal Theodore Sorel
Edward Tony Cummings
Aerobic Dance Instructor Lisa Carroll
Television News
Commentator Tony Cummings
Act I, Scene 1: A May morning. Scene 2: The
following morning. Scene 3: A few hours later.
Act II, Scene 1: Three months later. Scene 2:
Two weeks later. One intermission.
BRIGHTON BEACH MEMOIRS (59). By Neil
Simon. December 10, 1982 (world premiere). Di-
rector, Gene Saks.
Eugene Matthew Broderick
THE SEASON AROUND THE UNITED STATES
89
Blanche Joyce Van Patten HAY FEVER (59). By Noel Coward. February
Kate Elizabeth Franz 12, 1983. Director, Tom Moore. With Celeste
Laurie Mandy Ingber Holm, Michael Allison, Laurie Kennedy, Court-
Nora Jodi Thelen ney Burr, Patricia Elliott.
Stanley Zeljko Ivanek
Jack. Peter MicLel Goetz CRIMES OF THE HEART (51). By Beth
Time: September. 1937. Place: Brighton "^"ley- ^P"' 4' 1^83. Director, Melv.n Bern-
Beach, Brooklyn, New York. Act I: 6:30 p.m. ^ardt. With Mia Dillon, Mary Beth Hurt,
Act II: Wednesday, a week later, about 6:45 in Lizbeth Mackay, Peter MacNicol, Raymond
the evening. Baker. Sharon Ullnck.
Designers: scenery, David Gropman, David Mitchell, Richard Seger, John Lee Beatty; lighting,
Richard Nelson, Tharon Musser, Martin Aronstein, Dennis Parichy; costumes, Theoni V. Al-
dredge, Patricia Zipprodt, Robert Blackman, Patricia McGourty.
Center Theater Group: Mark Taper Forum — Mainstage
(Artistic director, Gordon Davidson; acting artistic director, Kenneth Brecher; managing direc-
tor, William P. Wingate)
A SOLDIER'S PLAY (52). By Charles Ful-
ler. August 19, 1982. With David Ackroyd, Den-
zel Washington, Charles Weldon, Earl Bill-
ings, Robert Hooks, Philip Reeves.
METAMORPHOSIS (52). By Franz Kafka;
adapted and directed by Steven Berkoff. October
21, 1982 (American premiere).
Gregor Brad Davis
Mr. Samsa Pat McNamara
Greta Annabella Price
Mrs. Samsa Priscilla Smith
Chief Clerk; Lodger Ebbe Roe Smith
Musician Gregg Johnson
ACCIDENTAL DEATH OF AN ANAR-
CHIST (52). By Dario Fo; adapted by John
Lahr. January 20, 1983 (American premiere).
Director, Mel Shapiro.
Detective Bertozzo John Carpenter
Patrolman Tony Azito
Fool Ned Beatty
Inspector Pissani Paul E. Richards
Massimo Andrew Bloch
Chief Tom Toner
Maria Feletti Sue Kiel
Time: The present. Place: A police station in
Milan. One intermission.
GROWN UPS (52). By Jules Feiffer. March 24,
1983. Director, John Madden. With Nan Mar-
tin, Harold Gould, Mimi Kennedy, Bob
Dishy, Cheryl Giannini, Jennie Dundas.
In repertory May 29-July 24:
A MONTH IN THE COUNTRY by Ivan
Turgenev; adapted by Willis Bell. May 29, 1983.
Director, Tom Moore. With Irene Tedrow, Paul
Shenar, Michael Learned, Rene Aubeijonois,
Lawrence Pressman.
RICHARD III by William Shakespeare. May
30, 1983. Director, Diana Maddox. With Rene
Auberjonois, Sally Kemp, James R. Winker,
Gary Dontzig, Lawrence Pressman.
Center Theater Group: Mark Taper Forum Lab
VALESA (13). By Jerzy Tymicki; translated and
adapted by Maya Haddow and Jeffrey Had-
dow. December 8, 1982. Director, Ben Levit.
ESTONIA YOU FALL (13). By Martin
Weetman; director, John Frank Levey. February
11, 1983.
47 BEDS. INTERVIEWING THE AUDI-
ENCE, A PERSONAL HISTORY OF THE
AMERICAN THEATER (12). Written and per-
formed by Spalding Gray. March 8, 1983.
SCHOOL TALK (3). By Peter C. Brosius and
the ITP Company; director, Peter C. Brosius;
composer, Jeff Hull; musical director, Elizabeth
Meyers; choreographer, Michele Summers.
March 31, 1983.
THE LIFE AND TIMES OF ALBERT EIN-
STEIN (12). By Kres Mersky; director, Edward
Parone. May 19, 1983.
Designers: scenery, Michael Devine, Thomas A. Walsh, David Jenkins, Tom Lynch, Ralph
Funicello, Lisette Thomas, Martyn Bookwalter. John Gilles; lighting, Martin Aronstein. Marilyn
MARK TAPER FORUM, LOS ANGELES— Tony Azito, Paul E. Rich-
ards, Tom Toner and Ned Beatty in John Lahr's adaptation of Dario Fo's
Itahan farce Accidental Death of an Anarchist
Rennagel, Paul Gallo, Paulie Jenkins, Brian Gale, Elizabeth Stillwell; costumes, Judy Dearing,
Terence Tom Soon, Marianna Elliott, Dunya Ramicova, Robert Blackman, Peter Hall, Lisette
Thomas, Marilyn Fusich, Tina Haatainen.
Note: Mark Taper Forum presented some special programs developed at the theater including August
6, 1945 adapted and songs composed by Dory Previn; additional music by Brad Fiedel; a work-in-
progress based on work by Dr. Helen Caldicott. In addition, company members performed and
directed poems, stories, and other writings at a literary cabaret, Sundays between Sept. 12 and June
26.
LOUISVILLE
Actors Theater of Louisville: Pamela Brown Auditorium
(Producing director, Jon Jory)
ARABIAN NIGHTS (18). Translated by Rich-
ard F. Burton. July 8, 1982. Director, Jon
Jory.
JULIUS CAESAR (36). By William Shakes-
peare. September 30, 1982. Director, Norris
Houghton. With Ray Fry, Dierk Torsek, John C.
Vennema, Mary Diveny, Jessie K. Jones.
THE SEASON AROUND THE UNITED STATES
91
COUP and CLUCKS (1 1). By Jane Manin. No
V ember 14, 1982 (world premiere). Director. Jon
Jor>.
Coup
Miz Zifty Jen Jones
Don William Mesmk
Beaulah Beatrice Wmde
Brenda Lee Dawn Didawick
Tooth Dierk Torsek
Essie Jessie K. Jones
Bobby Joe Daniel Jenkins
Dr. Kennedy Reuben Green
Time: 4ih of July. noon. Place: Miz Zifty's
living room m the small town of Brme, Ala.
Clucks
Travis Murphy Guyer
Tooth Dierk Torsek
Bobby Joe Daniel Jenkins
Pntchard Ray Fry
Ryman William Mesmk
Zits John Shon
Dr. Kemiedy Reuben Green
Essie Jessie K. Jones
Time: 4th of July, evening. Place: Outside Dr
Kennedy's home. One intermission.
MINT (7). Bv Daud Epstein, directed bv Frazier
W. Marsh; NICE PEOPLE DANCING TO
GOOD COUNTRY MUSIC by Lee Blessing.
directed by Larry Deckel. November 6, 1982
(world premiere).
Mine
Rita-Jean Morgan Mary Diveny
Bonnie Morgan Kersdn Kilgo
Lynda Butcher Dawn Didawick
Patti-Faye Howard Nancy Mette
Frank Morgan Vaughn McBnde
Men William Mesnik, Murphy Guyer
Time: Winter. Place: .^ mining camp.
Sice People Dancing to Good Country Music
Cathenne Empanger Kerstin Kilgo
Eve Wilfong Kinan Coan
Jason Wilfong Daniel Jenkins
Roy Manual William Mesnik
Jim Stools Murphy Guyer
Time: .A. late September afternoon. Place: On
an outside deck above a Houston Bar.
THE ART OF SELF-DEFENSE (8) By Tnsh
Johnson (8). November 9. 1982 (world pre-
miere). Director, Larry Deckel.
Ruth Mary Diveny
Frannie Kirtan Coan
Elizabeth Nancy Mette
Jan Dawn Didawick
C.Y Dale Soules
Male Voice John Shon
Place: In and around a downtown health club.
A CHRISTMAS CAROL I- By Charles
Ehckens; adapted b> Barbar.! Fiela December 2.
1982. Ehrecior. Ray Fry With John C Ven-
ncma, Dierk Torsek. Chns Wilhite, William
Mesnik.
MURDER .-VT THE VICAR,\GE . 34. B> Aga-
tha Chnstie; adapted b> Moie Charles and Bar-
bara Toy. December 30, 1982. Du"ector, Larry
Deckel With Adale OBricn. Andy Backer,
Cynthia Carle. Daniel Jenkins
MASS APPEAL (2').By Bill C Davis February
3. 19S3 Director. Russell Treyz. With Ray
Fry. Dan Butler
SAND C.\STLES (12). By Adcle EdUng
Shank March 3, 1983 (professional premiere).
Director, Theodore Shank.
Ins: Pregnant Woman;
Sailor Mary Seward-McKeon
Stephen John C Vennema
Carol Connor Steffens
.A.ussie: Fast Floyd; Photographer.
Bookworm William Mesnik
Kim: Biker Chick Stephanie Saft
.A.ndy: Fntz; Policeman; Texan:
Condo Johns Voice Scon Phelps.
Glen: Retired Man:
.\ndys father Frederic Major
Ginger,
Retired Woman Carol Shoui>-Sanders
Lmda Blue: Aussie*s Woman .... Becky Mayo
Anemone: Jogger Sally Faye Reit
Time: The following summer. Place: .\ South-
em California beach. One mtermission. (See syn-
opsis m the introducti<Mi to this section.)
THANKSGIVING (13). By James McLurc.
March 6. 1983 (world premiere). Director. Jon
Jory.
Kate . Dawn Didawick
Winston Murphy Guyer
Rob Fred Saners
Eileen Margo Manindale
James Dierk Torsek
Vanessa Susan Kmgsley
Time: The present. Place: A suburban home m
New Jersey One mtermission.
IN A NORTHERN LANDSCAPE (10). By
Timothy Mason March 10. 1983 (world pre-
miere) Director. Frazier W. Marsh.
Charlotte Bredahl Peggy Cowles
Matthevk Bredehl Frederic Major
Emma Bredal Laura Innes
Samuel Bredahl Reed Bimey
Anders Thorson George Kimmd
Per Olafsson »* . Shawn EKxigheny
92
THE BEST PLAYS OF 1982-1983
Fritz Thatcher Mark Loftis THE HASTY HEART (28). By John Patrick.
Mikkel Guntner Chnt Allen April 7, 1983. Director, Adale O'Brien. With
Nils Ogdahl George Sutton Dennis Dixie, Ellen Fiske, Ray Fry, Bruce
Time: Back and forth between 1926 and 1928. Kuhn, William Mesnik, Robert Moran, Fritz
Place: Rural Minnesota. One intermission. Sperberg, Dierk Torsek, John Anthony
Weaver.
THE HABITUAL ACCEPTANCE by Kent
Broadhurst, directed by Adale O'Brien; WUTHERING HEIGHTS (36). By Emily
PARTNERS by Dave Higgins, directed by Rob- Bronte, adapted by Randolph Carter. May 5,
ert Spera; BARTOK AS DOG by Patrick To- 1983. Director, Jon Jory. With Gordana Ra-
vatt, directed by Frazier W. Marsh. March 1 8, shovich, Ben Gotlieb, Marco Barricelli, Johanna
1983 (world premieres). Leister.
Actors Theater of Louisville: Victor Jory Theater
World premieres
HAPPY WORKER by Stephen Feinberg, di-
rected by Dierk Torsek; PARTNERS by Dave
Higgins, directed by Robert Spera; GOOD OLD
BOYS written and directed by Vaughn
McBride. (6) November 3, 1982.
A TANTALIZING by William Mastrosi-
mone and THE VALUE OF NAMES by Jeffrey
Sweet (7) (See synopsis in the introduction to this
section). November 5, 1982. Director, Emily
Mann.
FLIGHT LINES by Barbara Schneider, directed
by Vaughn McBride; I WANT TO BE AN
INDIAN by William Borden; THE HABIT-
UAL ACCEPTANCE OF THE NEAR
ENOUGH by Kent Broadhurst, directed by
Adale O'Brien. (6). November 7, 1982.
THE CAMEO by Ray Fry; IN THE BAG by
Lezley Havard; I LOVE YOU, I LOVE YOU
NOT by Wendy Kesselman; BARTOK AS
DOG by Patrick Tovatt. November 19, 1982.
Director, Frazier W. Marsh.
THE GIFT OF THE MAGI (37). By O.
Henry; adapted by Peter Eckstrom. December 1,
1982. Director, James Kramer. With Patricia
Arnell, Robert Stoeckle.
MISALLIANCE (19). By George Bernard
Shaw. January 12, 1983. Director, Thomas
Bullard. With Gilbert Cole, Ray Fry, Patricia
Hodges, K. Lype O'Dell, Joyce Krempel.
EDEN COURT (13). By Murphy Guyer. Febru-
ary 23, 1983 (world premiere). Director, Ken
Jenkins. With Murphy Guyer, Dawn Dida-
wick, Holly Hunter, Steve Rankin.
NEUTRAL COUNTRIES (10). By Barbara
Fields. February 26, 1983 (world premiere). Di-
rector, Robert Falls. With Andy Backer, Kent
Broadhurst, Laura Hughes, Daniel Jenkins,
Adale O'Brien.
A WEEKEND NEAR MADISON (7). By
Kathleen Tolan. March 11, 1983 (world pre-
miere). With Robin Groves, Holly Hunter, Ran-
dle Mell, William Mesnik. (See synopsis in the
introduction to this section.)
KEY EXCHANGE (18). By Kevin Wade. April
6, 1983. Director, Larry Deckel. With Steve
Rankin, Sally Faye Reit, Fred Sanders.
Designers: scenery, Paul Owen, Joseph A. Varga; lighting, Jeff Hill, Paul Owen, Karl Haas;
costumes, Karen Gerson, Kurt Wilhelm.
Note: Actors Theater of Louisville presented the following plays at the Lunchtime Theater: Cast-
ing by Andy Backer; The Stickup by Jon Huffman, Cervelles au Beurre Noir by John Jory, Hi-
Tech by Carol Mack, French Fries by Jane Martin, April 26-May 28, 1983.
MADISON, N.J.
New Jersey Shakespeare Festival: Drew University
(Artistic director, Paul Barry; producing director, Ellen Barry)
TWELFTH NIGHT (30). By William Shakes-
peare. June 22, 1982. Director, Paul Barry. With
Robin Leary, John Barrett, Dane Knell, Bertina
Johnson, Gary Sloan, Annie Stafford, Ron
Steelman, Zeke Zaccaro.
THE SEASON AROUND THE UNITED STATES
93
Perkins, Geddeth Smith, Cornelia Evans, John
Pietrowski.
CAT ON A HOT TIN ROOF (25). By Tennes-
see WilHams. October 19, 1982. Director, Paul
Barry. With Ellen Barry, John Abajian, Graham
Pollock, Lynn Cohen, J. C. Hoyt, Margery
Shaw.
FIFTH OF JULY (24). By Lanford Wilson. No-
vember 16, 1982. Director, Paul Barry. With
Peter Burnell, Virginia Matis, Nila Novy.
TIMON OF ATHENS (24). By William
Shakespeare. July 6, 1982. Director, Paul
Barry. With Paul Barry, Don Perkins, J. C.
Hoyt.
WILD OATS (25). By John O'Keeffe. August 3,
1982. Director, Christopher Martin. With Gary
Sloan, Tom Spackman, J. C. Hoyt, Patrick
Husted, Bertina Johnson, Don Perkins, Ron
Steelman.
OUR TOWN (25). By Thornton Wilder. Sep-
tember 21, 1982. Director, Paul Barry. With Don
Designers: scenery, Ann E. Gumpper; lighting, Richard Dorfman; costumes, Heidi Hollmann,
Alice S. Hughes.
Note: New Jersey Shakespeare Festival presented a variety of Monday night special events including
music, dance, mime and theater.
MILWAUKEE
Milwaukee Repertory Theater: Todd Wehr Theater — Mainstage
(Artistic director, John Dillon; managing director, Sara O'Connor)
MISS LULU BETT (45). By Zona Gale. Septem-
ber 10, 1982. Director, John Dillon. With Rose
Pickering, Victor Raider-Wexler, James Pick-
ering, Darrie Lawrence.
BURIED CHILD (45). By Sam Shepard. Octo-
ber 22, 1982. Director, Sharon Ott. With Maury
Cooper, Rosemary Prinz, James Pickering, Ellen
Lauren, Eric Hill, Larry Shue, Victor Raider-
Wexler.
THE GLASS MENAGERIE (45). By Tennessee
Williams. December 3, 1982. Director, John
Dillon. With Rosemary Prinz, James Picker-
ing, Ellen Lauren, Eric Hill.
THE FOREIGNER (45). By Larry Shue. Janu-
ary 14, 1983 (world premiere). Director, Nick
Faust.
Froggy Kenneth Albers
Charlie Alan Brooks
Betty Bonnie Horan
David Laurence Ballard
Catherine Ellen Lauren
Owen William Leach
Ellard Peter Rybolt
Time: The spring. Place: Betty Meeks's lake-
side resort, Tilghman, Ga. One intermission. (See
synopsis in the introduction to this section.)
UNCLE VANYA (45). By Anton Chekhov;
translated and directed by Richard Cottrell. Feb-
ruary 25, 1983. With James Pickering, Albert
Corbin, Peggity Price, Daniel Mooney, Rose
Pickering.
THE GOVERNMENT MAN (45). By Felipe
Santander; translated by Joe Rosenberg. April 8,
1983 (English language premiere).
Cruz Jose Santana
Conconero Raoul Breton
Benito Abel Franco
Maximo Daniel Mooney
Others: Millie Vega, William Ontiveros and
members of MRT Company.
Place: A poor Mexican village.
Milwaukee Repertory Theater: Pabst Theater
A CHRISTMAS CAROL (31). By Charles
Dickens; adapted by Nagle Jackson. December
1, 1982. Director, Nick Faust. With Maury
Cooper, Laurence Ballard, Rose Pickering, Dan-
iel R. Poppert.
Milwaukee Repertory Theater: Court Street Theater
THE PENTECOST (17). By William Stancil.
March 3, 1983 (world premiere). Director, Rob-
ert E. Goodman.
Flora Spincks. . .
Edith Elliott
94
THE BEST PLAYS OF 1982-1983
Lula Sprowl Julia Follansbee
Hattie Crims Jeanne Schlegel
Ada Fincher Mimi Honce
Jared Sprowl Kenneth Albers
Dr. Fenton Underwood Jr.. . Laurence Ballard
Time, 1948. Place: Etowah City, Ga. Act I,
Scene 1 : The afternoon of Friday, May 20. Scene
2: Later that evening. Act II, Scene 1: Morning
of Saturday, May 21. Scene 2: Morning of Sun-
day, May 22.
THE EIGHTIES, OR LAST LOVE (17). By
Tom Cole. March 24, 1983 (world premiere).
Director, Sharon Ott.
He Emmett O'Sullivan-Moore
She Megan Hunt.
Time: Early in the 1980s.
Designers: scenery, Hugh Landwehr, Tim Thomas, Laura Maurer, Bil Mikulewicz, David Jen-
kins; lighting, Spencer Mosse, Rachel Budin, Dawn Chiang, Daniel Kotlowitz, Dan Brovarney;
costumes, Kurt Wilhelm, Colleen Muscha, Patricia Risser, Elizabeth Covey, Sam Fleming, Katherine
E. Duckert, Gayle M. Strege, Mary Piering.
Note: MRT's productions of The Glass Menagerie and Buried Child toured Japan and South
Korea, May-June 1983, as part of a continuing theater exchange program between the U. S. and
Japan.
THE FUEHRER IS STILL ALIVE (12). By
Tsuneari Fukuda; translated by Thomas
Rimer. April 14, 1983 (American premiere). Di-
rector, Tetsuo Arakawa.
Fujii Yumeko Virginia Wing
Misui Hikoichi Keone Young
Adolf Bormann Kenneth Albers
Helga Neidinger Katherine Udall
Kada Hitomi Kiya Ann Joyce
Tanouchi Heisuke Michael Paul Chan
Kada Hiroshi Ernest Harada
Hishiyama Hajime Fredric Mao
Hermann Schmidt Larry Shue
Time: 1970. Place: In the Hving room of Fujii
Yumeko and Adolf Bormann, Japan.
MINNEAPOLIS
The Guthrie Theater
(Artistic director, Liviu Ciulei; managing director, Donald Schoenbaum; associate artistic direc-
tor. Garland Wright)
In rotating repertory. June 5-November 21:
SUMMER VACATION MADNESS by Carlo
Goldoni. June 5, 1982. Director, Garland
Wright. With Seth Allen, Caitlin Clarke, Mun-
son Hicks, Kristine Nielsen.
REQUIEM FOR A NUN by William
Faulkner. June 24, 1982. Director, Liviu Ci-
ulei. With Richard Frank, Linda Kazlowski, Isa-
bell Monk, Bill Moor.
THE MARRIAGE OF FIGARO by Beau-
marchais, adapted by Richard Nelson. July 15,
1982. Director, Andrei Serban. With Richard
Dorfman, Cristine Rose, Jana Schneider, David
Warrilow.
ROOM SERVICE by John Murray and Allen
Boretz. August 19, 1982. Director, Harold
Stone. With Ken Ruta, Seth Allen, Warren
Pincus.
HEARTBREAK HOUSE by George Bernard
Shaw. October 14, 1982. Director, Christopher
Markle. With Robert Pastene, Kristine
Nielsen, Dillon Evans, Delphi Harrington,
Annie Murray.
A CHRISTMAS CAROL (45). By Charles
Dickens; adapted by Barbara Field. November
25, 1982. Director, Christopher Markle.
ENTERTAINING MR. SLOANE (28). By Joe
Orton. January 6, 1983. Director, Gary Gissel-
man. With Richard Sale, Yolanda Childress,
James Harper, Dillon Evans.
PEER GYNT (50). By Henrik Ibsen; translated
by Rolf Fjelde. February 12, 1983. Director,
Liviu Ciulei. With Greg Martyn, Jossie de
Guzman, Gerry Bamman, Gail Grate, Gloria
Foster. Music by Fiorenza Carpi and Paul
Goldstaub; choreography, Maria Cheng.
MASTER HAROLD . . . AND THE BOYS
(36). Written and directed by Athol Fugard. May
3, 1983. With James Earl Jones, Delroy
Lindo, Charles Michael Wright.
THE SEASON AROUND THE UNITED STATES
95
Designers: scener\'. Adnanne Lobel. Santo Loquaslo. Jack Barkla. Michael Yeargan. Beni
Moniresor; lighting, Craig Miller, Jennifer Tipton, Paul Scharfenberger, William Armstrong. Duane
Schuler; costumes, Anne Hould-Ward, Santo Loquasto, Jack Edwards, Lawrence Casey. Beni
Montresor, Jared Aswegan.
NEW HAVEN
Long Wharf Theater: Mainstage
(Artistic director, Arvin Brown; executive director, M. Edgar Rosenblum)
OPEN ADMISSIONS (47). By Shirley Uuro.
October 14. 1982 (world premiere). Director.
Arvin Brown.
Peter Paul Gleason
Ginny Roberta Maxwell
Salina Mary Alice
Calvin Calvin Levels
Cathy Wendy Ann Finnegan
Georgia Pamela PotiUo
Heidi Horowitz Paula Fritz
Nick Rizzoli Thomas Calabro
Juan Rivera Even H. Miranda
Punkin Ntombi Peters/Tarah Roberts
Act I. Scene 1: Calvin's and Ginny's apart-
ments in Manhattan, morning, the present.
Scene 2: The City College, immediately there-
after, dunng the morning and afternoon of the
same day. Act II, Scene 1. Calvin's and Ginny's
apartments, immediately thereafter, early eve-
ning of the same day. Scene 2: The City Col-
lege, immediately thereafter, that night. One in-
termission.
HOLIDAY (47). By Philip Barry. November 26,
1982. Director, John Pasquin. With Richard
Jenkins, Jill Eikenberry , Joanne Camp, William
Swetland.
ANOTHER COUNTRY (47). By Julian
Mitchell. January 6, 1983 (American premiere).
Director. John Tillinger.
Guy Bennett Peter Gallagher
Tommy Judd Peter MacNicol
Donald Devenish Tait Ruppert
Jim Menzies Albert Macklin
Fowler Owen Thompson
Sanderson Tyrone Power
Barclay Mark Moses
Delahay Rob Gomes
Wharton Robert Byron Allen
Vaughan Cunningham Edmond Genest
Time: Summer, in the early 1930s. Place: An
English Public School. Act I, Scene 1: The fourth
year library, Gascoigne's House. Scene 2: Bar-
clay's study, that evening. Scene 3: Dormitory,
that night. Scene 4: Library, night, a week later.
Act II, Scene 1: Study, morning, a few days later.
Scene 2: Library, that night. Scene 4: Study, the
following evening. Scene 5: Cricket field, the next
day. Scene 6: Library, that evening. One inter-
mission.
THE GUARDSMAN (47)
nar. February 17, 1983.
By Ferenc Mol-
Director. Harris
Yulin. With Richard Jordan, Maria Tucci, Paul
Benedict, Jane Cronin.
PAL JOEY (47). Music by Richard Rodgers,
lyncs by Lorenz Hart, book by John O'Hara
based on his stories. March 31, 1983. Director,
Kenneth Frankel; music director. Thomas
Fay; choreographer. Dan Siretta. With Philip
Casnoff. Joyce Ebert. Betsy Joslyn. Louisa Fla-
ningam. Bill Mclntyre, D'Jamin Bartlett.
THE CHERRY ORCHARD (47). By Anton
Chekhov; translated by Jean-Claude van Ital-
he. May 12, 1983. Director, Arvin Brown. With
Joyce Ebert, John Tillinger, Tom Atkins, Fran
Bnll, Stephanie Zimbalist, Mark Blum, Pippa
Scott, Morris Camovsky.
MOLLY (32). By Simon Gray. July 7, 1983. Di-
rector. Stephen Hollis. With Tammy Gnmes,
David Huddleston. Thomas Hulce. Barbara
Bryne, Roger Forbes.
Long Wharf Theater: Stage Two
ELEGY FOR A LADY and SOME KIND OF
LOVE STORY (48). Wntten and directed by
Arthur Miller. October 26, 1982 (world pre-
miere).
Elegy For A Lady
Man Charles Cioffi
Proprietress Chnstine Lahti.
Time: the present. Place: A boutique in an
Amencan city.
LONG WHARF THEATER, NEW HAVEN— ^6ove, William Swetland
and Phyllis Thaxter in Free and Clear by Robert Anderson; below, Charles
Cioffi in the Arthur Miller one-acter Elegy for a Lady
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THE SEASON AROUND THE UNITED STATES
97
Some Kind of Love Story
Angela Christine Lahti
Tom Charles Cioffi
Time: The present. Place: Angela's bedroom in
an American city.
QUARTERMAINE'S TERMS (48). By Simon
Gray. December 14, 1983 (American premiere).
Director, Kenneth Frankel.
St. John Quartermaine Remak Ramsay
Anita Manchip Caroline Lagerfelt
Mark Sackling Kelsey Grammer
Eddie Loomis Roy Poole
Derek Meadle Anthony Heald
Henry Windscape John Cunningham
Melanie Garth Dana Ivey
Time: Over a period of three years in the
eariy 1960s. Place: The staff room of the Cull-
Loomis School of English for Foreigners, Cam-
bridge, England. Act I, Scene 1: Springtime,
Monday, 9:30 in the morning. Scene 2: Some
weeks later, Friday afternoon, a few minutes be-
fore 5. Act II, Scene 1: The following year, to-
wards summer, Monday morning, about 9:30.
Scene 2: A Friday evening, some months later.
Scene 3: 18 months later, around Christmas,
evening.
THE LADY AND THE CLARINET (48). By
Michael Cristofer. Februar> 1, 1983. Director,
Gordon Davidson. With Stockard Channing,
Kevin Geer, Michael Brandon, Josef Sommer,
David Singer.
FREE AND CLEAR (48) By Robert Ander-
son. March 22, 1983 (world premiere). Director,
Arvin Brown.
Jack James Naughton
Larry David Marshall Grant
John William Swetland
Sarah Phyllis Thaxter
Act I, Scene 1: Side porch of the Mornsons'
large, old family home in Westchester County,
New York, 3 in the morning on a hot, early
summer's day m 1940. Scene 2: Outside the same
house, later in the morning. Scene 3: Inside the
house, still later that morning. Act II, Scene 1:
On the porch, that evening. Scene 2: On the
porch, near dawn the next morning.
Designers: scenery, Marjorie Bradley Kellogg, Steven Rubin, John Conklin, John Jensen, Andrew
Jackness, Hugh Landwehr, David Jenkins, Michael Yeargan, Karl Eigsti; lighting, Ronald Wal-
lace, Pat Collins, Jamie Gallagher, Judy Rasmuson, Paul Gallo; costumes, Ann Roth/Gary
Jones, Bill Walker, Jane Greenwood, Robert Wojewodski.
Yale Repertory Theater
(Artistic director, Lloyd Richards; managing director, Benjamin Mordecai)
A DOLL'S HOUSE (20). By Hennk Ibsen; tran-
slated by Rolf Fjelde. October 5, 1982. Director,
Lloyd Richards. With Dianne Wiest, Richard
Jenkins, Lisa Banes, Earle Hyman, John
Glover.
HELLO AND GOODBYE (20). By Athol
Fugard. November 2, 1982. Director, Tony
Giordano. With Warren Manzi, Jenny O'-
Hara.
THE PHILANDERER (20). By George Ber-
nard Shaw. November 30, 1982. Director, David
Hammond. With Christopher Walken. Tandy
Cronyn, Brooke Adams, Addison Powell, Dann
Florek.
In rotating repertory. Jan. 17-Feb. 26:
ASTAPOVO (14). By Leon Katz. January 17,
1983. Director, Lawrence Komfeld.
Sergeyenko Charles S. Dutton
Sergey Reno Roop
Ozolin Joel Rooks
Chertkov Andreas Katsulas
Sasha Jocelyn Johnson
Dushan David Margulies
Tanya Lauren Klein
Andrey Rick Grove
Sonya Jan Miner
Elizaveta Marilyn Sommer
Railroad Worker John Turturro
Meyer William Kux
Father Varsonofy Christian Clemenson
Time: November, 1910. Place: A railroad sid-
ing in Astapovo, Russia. Act I: November 2. Act
II: November 7.
COYOTE UGLY (14). By Lynn Siefert. January
18, 1983. Director, Christian Angermann.
Scarlet Pewsy Sallyanne Tackus
Andreas Pewsy Dorothy Holland
Red Pewsy Edward Seamon
Dowd Pewsy Mark Metcalf
Penny Pewsy Barbara Somerville
Time: The present. Place: Arizona.
98
THE BEST PLAYS OF 1982-1983
PLAYING IN LOCAL BANDS (14). By Nancy
Fales Garrett. January 19, 1983. Director, Wil-
liam Ludel.
Shanti Lauren Klein
Roger John Harnagel
Monique Seret Scott
James Donne Michael Murphy
Kendra Wilson Julie Boyd
Time: The present. Place: New York City.
MUCH ADO ABOUT NOTHING (20). By
William Shakespeare. March 8, 1983. Director,
Walton Jones. With Roxanne Hart, Mia Dil-
lon, Marshall Bordon, Jon DeVries, Patrick
James Clarke, Marcell Rosenblatt.
ABOUT FACE (20). By Dario Fo; English ver-
sion by Dale McAdoo and Charles Mann. April
5, 1983 (English language premiere). Director,
Andrei Belgrader.
Antonio/ Agnelli Andreas Katsulas
Lucia Patricia Richardson
Rose Karen Shallo
D.A William Duell
Doctor Warren Keith
Sergeant Joe Grifasi
Squadron Chief Keith Reddin
Squadron Leader; Waiter Dylan Baker
Waiter; Orderly Patterson Skipper
Policeman; Orderly David Thornton
Time: The present. Place: Milan, Italy. Act I,
Scene 1: An auto junkyard. Scene 2: A hospital.
Scene 3: The same. Act II, Scene 1: Rosa's house,
some months later. Scene 2: The same.
A TOUCH OF THE POET (20). By Eugene
O'Neill. May 21, 1983. Director, Lloyd Rich-
ards. With George Grizzard, Julie Fulton, Bar-
bara Caruso, Katharine Houghton, Rex Ever-
hart.
Designers: scenery, G. W. Mercier, Philipp Jung, Christopher H. Barreca, Michael Yeargan,
Robert M. Wierzel, Joel Fontaine, Ricardo Morin, Wing Lee; lighting, William B. Warfel, Robert
M. Wierzel, Stephen Strawbridge, Andrew Carter, Laurence F. Schwartz, Peter Maradudin, Jennifer
Tipton; costumes, Dunya Ramicova, Donna Zakowski, Connie Singer, Catherine Zuber, Richard
Mays, Ricardo Morin, G. W. Mercier, Philipp Jung.
Note: During the 1982-83 season, the Yale School of Drama presented Fanshen by David Hare,
directed by Bob Barron; The Bewitched by Peter Barnes, directed by Christian Angermann; The
Lower Depths by Maxim Gorky in a translation by Alex Szogi; The House of York, chronicling the
Wars of the Roses, adapted from materials compiled by Royston Coppenger, directed by David
Hammond.
PHILADELPHIA
Philadelphia Drama Guild: Zellerbach Theater — Annenberg Center
(Managing director, Gregory Poggi)
THE DIARY OF ANNE FRANK (24). By
Frances Goodrich and Albert Hackett. No-
vember 25, 1982. Director, William Wood-
man. With Jan Leslie Harding, Barbara
Caruso, John Dukakis, Conrad L. Osborne,
Marilyn Sokol.
THE KEEPER (22). By Karolyn Nelke. October
14, 1982 (professional premiere). Director,
Steven Schachter.
William Fletcher Stuart Germain
John Cam Hobhouse Richard Frank
Mr. Neems I.M. Hobson
Lady Byron Valerie MahafFey
Lord Byron Dwight Schultz
Mary Ann Clermont Eunice Anderson
Augusta Mary Leigh Patricia Elliott
Time: November 1815 through April 1816.
Place: London. One intermission.
TALLEY'S FOLLY (22). By Lanford Wilson.
January 6, 1983. Director, Charles I. Karch-
mer. With Jerry Zaks, Robin Groves.
DAUGHTERS (22). By John Morgan Evans.
March 10, 1983. Director, Tony Giordano. With
Jenny O'Hara, Vera Lockwood, Kathleen
Doyle, Yudie Bank, Roxann Caballero.
ALL MY SONS (22). By Arthur Miller. April
21, 1983. Director, William Woodman. With
Dan Frazer, Court Miller, Morgan Land/Judd
Serotta, Lenka Peterson, Adrian Sparks.
I I I
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li
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PHILADELPHIA DRAMA GUILD— Dwight Schultz and I.M. Hobson in
a scene from The Keeper by Karolyn Nelke
Designers: scenery, Eldon Elder, Roger Mooney, John Falabella, Karen Schulz, John Jensen;
lighting, William Armstrong, Dennis Parichy, Ann Wrightson; costumes, Jess Goldstein, John David
Ridge, Frankie Fehr. David Murin.
Philadelphia Play rights' Project: Studio Theater
(Project coordinator, Steven Schachter)
Staged readings, 2 performances each
THE CHILD by Anthony Giardina, director Schachter. December 6, 1982.
William Woodm'an. October 25. 1982. THE INNER STATION by David Ives; direc-
CIRCLES by Joseph M. Orazi; director, Steven tor, Kay Matschullat. January 31, 1983.
100
THE BEST PLAYS OF 1982-1983
PITTSBURGH
Pittsburgh Public Theater: Hazlett Theater in the Alleghany Center
(Artistic director, Larry Arrick; managing director, Dennis A. Babcock)
TOM JONES (48). Adapted and directed by ALMS FOR THE MIDDLE CLASS (48). By
Larry Arrick; music and songs by Barbara Stuart Hample. February 3, 1983 (world pre-
Damashek; based on Henry Fielding's novel. miere). Director, Larry Arrick.
September 9, 1982. With Rosalyn Farinella, Ken Gaines Marcus Diamond
Keith David, Don Howard, Ann Kerry, Derek Sarah Bethany Faye Decof
Meader, Jill O'Hara. Marshall Gaines Richard Greene
Doris Gaines Evalyn Baron
A STREETCAR NAMED DESIRE (48). By ^eith Timothy Donoghue
Tennessee Wilhams. October 28, 1982. Director, j-^^. Various times. Place: Vermont and New
Larry Arrick. With April Shawhan. Stephen york. One intermission.
Lang, Ann Kerry, William Verderber.
WHO'S AFRAID OF VIRGINIA WOOLF?
QUILTERS (48 and 38). By Molly Newman and (43). gy Edward Albee. March 24, 1983. Direc-
Barbara Damashek; music, lyrics and direction j^r, Larry Arrick. With Timothy Donoghue.
by Barbara Damashek. December 16, 1982 (re- Melissa Hurst, Alan Mixon, April Shawhan.
opened June 30, 1983). With Evalyn Baron,
Lenka Peterson, Lynn Lovvan, Kate Lohman, THE PRICE (48). By Arthur Miller. May 12,
Rosemary McNamara, Barbara Sieck Taylor, 1983. Director, Gene Lesser. With Harold
Catherine Way. Gary, William Hardy, Alan Mixon, Marilyn
Rockafellow.
Designers: scenery, Ursula Belden, John Jensen, Thomas A. Walsh; lighting, Allen Lee
Hughes, Dennis Parichy, Kristine Bick, Robert Jared; costumes, Elizabeth P. Palmer, Jess Gold-
stein, Flozanne A. John.
PORTLAND, ME.
Portland Stage Company
(Producing director, Barbara Rosoff; general manager, Patricia Egan)
GETTING OUT (30). By Marsha Norman. Oc- Rackoflf. With Stanley Flood, Stephen C.
tober 21, 1982. Director, Barbara Rosoff. With Bradbury.
Rebecca Nelson, Cynthia Mace, Anna Minot,
William Hall Jr., J. D. Swain. E^CO! (30). By Gerry Bamman. March 24. 1983
(world premiere). Director, Barbara Rosoff.
THE DINING ROOM (30). By A. R. Gurney Richard Robert Burns
Jr. November 25, 1982. Director, Lynn Polan. Harry Conan McCarty
With Mona Stiles, James Selby. James Sey- Suzanne Sofia Landon
mour, Shaw Purnell. Cynthia Barnett. Richard Nicholas Dexter Witherell
Maynard. Irene Susan Botti
Tom Paul Walker
GARDENIA (30). By John Guare. December Angela Etain O'Malley
30, 1982. Director, Barbara Rosoff. With Keliher Peter Peter Dane
Walsh, Michael Landrum, Richard Maynard, Pauline Sandra T. Colby
Thomas A. Stewart. jo^^ Stephen C. Bradbury
A LESSON FROM ALOES (30). By Athol Bernardo Michael Hughes
Fugard. January 27, 1983. Director, Arden Place: Terrace and garden of a summer home
Fingerhut. With Tad Ingram, Susan Stevens, «" ^ape Cod. Act I: August 1920. Act II,
William Hall Jr Scene 1: July 1921, late afternoon. Scene 2:
That evening. Act III: June 1922. Two inter-
HOW I GOT THAT STORY (30). By Amlin missions.
Gray. February 24, 1983. Director, Louis
THE SEASON AROUND THE UNITED STATES
101
Designers: scenery, John Doepp, Leslie Taylor, Patricia Woodbridge, Marjorie Bradley Kel-
logg; lighting, Ann Wrightson, Arden Fingerhut; costumes, Eren Ozker, Heidi Hollmann, Rachel
Kurland, Robert Wojewodski, Leslie Taylor, Marie Ann Chiment.
Portland Stage Company: New Play Readings
AMENDS by Marsha Sheiness, November 14,
1982. Director, Barbara Rossoff.
NATIONAL ANTHEMS by Dennis Mcln-
tyre. January 16, 1983. Director, Lynn Polan.
STEEPLE JACK by Dennis Reardon. February
13, 1983. Director, Lynn Polan.
VERA WITH KATE by Toni Press. April 10.
1983. Director, Lynn Polan.
PORTSMOUTH, N. H.
Theater by the Sea
(Producmg director, Jon Kimball)
SWING SHIFT (32). Music by Michael Dan- liams, Roger Curtis, Scott Weintraub, Maxine
sicker; lyrics by Sarah Schlesinger; conceived and Taylor-Morris.
directed by Jack Allison. September 24, 1982
(world premiere). Musical director, Bruce W. DEATHTRAP (32). By Ira Levm. January 7.
Coyle; choreographer-associate director, Helen 1^83. Director, Peter Bennett. With Tom
Butleroff Celli, Victoria Boothby, Jeff McCarthy, Stepha-
Vera Catherine Cox "'^ ^o^^' ^'^^ ^abol.
Do^ Lo"is^ Flaningam CHILDREN OF A LESSER GOD (32). By
Maisie Ann-Ngaire Martin ^^^^ j^^^^AP February 16, 1983. Director, Ed-
Time: 1942. Place: An aircraft assembly ^^^^ Waterstreet. With Linda Bove, David
P'^"^ Fitzsimmons.
ARMS AND THE MAN (32). By George Ber- MASS APPEAL (32). By Bill C. Davis. March
nard Shaw. October 29, 1982. Director, Larry 23, 1983. Director, Tom Celli. With Charles
Carpenter. With Cecile Callan, Marian Baer, Welch, Jeff McCarthy.
Samuel Maupin, Jerry Gershman, Tom Celli.
PIPPIN (32). Book by Roger O. Hirson; music
THE BUTTERFINGERS ANGEL (32). By and lyrics by Stephen Schwartz. April 28, 1983.
William Gibson. December 3, 1982. Director, Director, Loyd Sannes. With Billy Hester,
Tom Celli, With Cecile Callan, J. Scott Wil- George Emch, Ginger Prince.
Theater by the Sea: Prescott Park Arts Festival
CAROUSEL (23). Music by Richard Rodg-
ers; book and lyrics by Oscar Hammerstein
II; based on Ferenc Molnar's Liliom. July 1,
1982. Director, Jon Kimbell; musical director.
Bruce W. Coyle; choreographer, Jayne Persch.
With Mark McGrath, Faith Prince, Vicki
Lewis, Loyd Sannes, Marilyn Hudgins.
Designers: scenery, Richard Chambers, Kathie lannicelli, Mark Pirolo, John Doepp, Edward
Cesaitis; lighting, Bruce K. Morriss, Sid Bennett; costumes, Kathie lannicelli.
PRINCETON, N.J.
McCarter Theater Company: Mainstage
(Artistic director, Nagle Jackson; managing director, Alison Harris)
BLITHE SPIRIT (16). By Noel Coward. Octo-
ber 1, 1982. Director, William Woodman. With
Marion Lines, Paul Shenar, Anna Russell, Chris-
tine Baranski.
HAMLET (17). By William Shakespeare. Octo-
ber 29, 1982. Director, Nagle Jackson. With
Harry Hamlin. Stacy Ray, Neil Vipond, Jill
Tanner, Jay Doyle, Gary Roberts.
102
THE BEST PLAYS OF 1982-1983
A CHRISTMAS CAROL (14). By Charles Gately Gregory Grove
Dickens; adapted and directed by Nagle Jack- Brian Gary Roberts
son. November 27, 1982. With Herb Foster, Ger- Place: In front of the Dakota, New York City.
aid Lancaster, Robin Chadwick, Penelope Time: December 9, 1980. No intermission.
Reed, Lawrence Holofcener, Jonathan Holub.
THREE SISTERS (16). By Anton Chekhov;
THE DAY THEY SHOT JOHN LENNON translated by Randall Jarrell. March 4, 1983.
(16). By James McLure. January 21, 1983 (world Director, Nagle Jackson. With Penelope Reed,
premiere). Director, Robert Lanchester. Stacy Ray, Mercedes Ruehl, Jay Doyle, David
Fran Mercedes Ruehl O'Brien, Robert Lanchester, Leslie Geraci.
Sally Ann Adams
Kevin Greg Thornton A DELICATE BALANCE (17). By Edward
j^jj^g Clifford Fetters Albee. April 1, 1983. Director, Paul Weidner.
L^rry Damien Leake ^^^^ Nancy Marchand, Paul Sparer, Barbara
Morris' ....................... Karl Light ^^^O"' ^^^ ^^^^^^^ ^^^^ Light, Elaine
Silvio Tony Campisi Bromka.
McCarter Theater Company: Stage Two
AT THIS EVENING'S PERFORMANCE Chadwick, Stephen Gates Smith, Raye Birk, Pe-
(13). Written and directed by Nagle Jackson. nelope Reed, Steven Moses, Jay Doyle.
January 30, 1983. With Stacy Ray, Robin
McCarter Theater Company: Playwrights-at-McCarter
New play readings, 1 performance each
PUBLIC LIVES by Julia Cameron. March 14,
1983. Director, Rosary O'Neill.
THE KINDNESS OF STRANGERS by Maura
Swanson. March 28, 1983. Director, Robert
Lanchester.
MEMPHIS IS GONE by Richard Hobson.
April 4, 1983. Director, Robert Lanchester.
AMERICAN BEAUTY by Richard Brennan
Designers: Scenery, Daniel Boylen, Brian Martin, Elizabeth Fischer; lighting, Richard Moore;
costumes, Susan Rheume, Elizabeth Covey, M.L. Holmes.
Camp. April 25, 1983. Director, Roberi
Lanchester.
FIERCE DREAMS by Jack Maeby and Carol
Tanzman. May 9, 1983. Director, Carol Tanz-
man.
DEBUT by Bruce E. Rodgers. May 16, 1983.
Director, Richard Russell Ramos.
PROVIDENCE, R.I.
Trinity Square Repertory Company: Downstairs Theater
(Director, Adrian Hall)
TINTYPES (24). By Mary Kyte, with Mel
Marvin and Gary Pearle. June 8, 1982. Director,
Sharon Jenkins. With Richard Ferrone, Rose
Weaver, Bonnie Strickman, Anne Scurria, Keith
Jochim.
THE CRUCIFER OF BLOOD (29). By Paul
Giovanni. July 16, 1982. Director, Philip
Minor. With Dan Butler, Richard Kneel, Keith
Jochim, Timothy Crowe, Lori Cardille.
13 RUE DE L' AMOUR (36). By Georges
Feydeau; adapted by Mawby Green and Ed
Feiibert. August 13, 1982. Director, David
Wheeler. With Margo Skinner, Peter Gerety,
Keith Jochim, Barbara Meek.
THE WEB (50). By Martha Boesing. October 5,
1982 (world premiere). Director, Adrian Hall.
Abigail Sater Margo Skinner
Abby as a Girl Becca Lish
Eleanor Sater Betty Moore
Carol Sater Thomas Deedy
Tobias Sater Richard Kavanaugh
Hester Sater Ann Hamilton
Gloria Sater Bonnie Black
Jesse Trace Robert Black
Time: Now. Place: The mind, memory
THE SEASON AROUND THE UNITED STATES
103
and imagination of Abigail Sater. One intermis-
sion.
THE DRESSER (58). By Ronald Harwood. No-
vember 30, 1982. Director, David Wheeler. With
Richard Kneeland, Ford Rainey, Barbara Orson.
TRANSLATIONS (52). By Brian Friel. Febru-
ary 15, 1983. Director, Henry Velez. With David
C. Jones, Timothy Crowe, Anne Scurria, David
Kennett, Pat Thomas.
LETTERS FROM PRISON (58) By Jack
Henry Abbott. April 16, 1983 (world premiere).
Director, Adrian Hall. With Richard Jenkms,
Timothy Crowe, David Kennett. (See synopsis in
the introduction to this section.)
Trinity Square Repertory Company: Upstairs Theater
A CHRISTMAS CAROL (39). By Charles
Dickens; adapted by Adrian Hall and Richard
Cumming. December 3, 1982. Director, Peter
Gerety. With Ed Hall, Keith Jochim, Richard
Kavanaugh, Sean Reilly/Neil Handwerger.
THE FRONT PAGE (37). By Ben Hecht and
Charles MacArthur. February 1, 1983. Director,
Philip Minor. With Richard Kneeland, Peter
Gerety, Barbara Orson, Lura Bane Howes.
THE TEMPEST (37). By William Shakes-
peare. March 11, 1983. Director, Adrian Hall.
With Richard Kneeland, Amy Van Nostrand,
Richard Ferrone, Richard Kavanaugh.
PYGMALION (36). By George Bernard
Shaw. April 22, 1983. Director, Philip Minor.
With Jean Marsh, Richard Kavanaugh, Ed
Hall, Anne Gerety, Keith Jochim.
Composer-musical director, Richard Cumming. Designers: scenery, Eugene Lee, Robert D.
Soule; lighting, Eugene Lee, John F. Custer; costumes, William Lane.
Note: Trinity Square continued to present special performances for students of the regularly scheduled
plays, as part of their curriculum.
RICHMOND
Virginia Museum Theater: Mainstage
(Artistic director, Tom Markus; managing director, Ira Schlosser)
THE PLAY'S THE THING (26). By Ferenc 9 p.m. in eady May. Scene 2: Saturday, 3 a.m.
Molnar; translated by P. G. Wodehouse. October Act II, Scene 1: Saturday, 5 p.m. Scene 2: Satur-
8, 1982. Director, Tom Markus. With Carole day, 9 p.m.
Monferdini, James Braden, Humbert Astredo,
Eric Swemer, Dan Bedard. William Denis, Rob- ^ CHRISTMAS CAROL (26). By Charles
ert Foley Dickens; adapted by Tom Markus. December 17,
1982. Director, Terry Burgler. With Don
THE HIDING PLACE (27). Written and di- Chnstopher, Ben Appleton, Adnan Rieder,
rected by Alfred Drake. November 19, 1982 Robert Foley,
(world premiere).
Kathenne Ruyker Kim Beaty THE LION IN WINTER (26). By James
Lawrence Pasten Rudolph Willrich Goldman. January 7, 1983. Director, Tom
Edgell Carpenter Dana Mills ^^^^^^- ^'th Robert Gerringer, Patricia
Duncan Ruyker Lucien Douglas Falkenhain, Terry Burgler, Maury Erickson,
Hendryk Ruyker Tom McDermott "^^^^ '^^y^^'' ^"^ Zwemer, Sherry Skinker.
Alexander Baillie Norman Barrs jhE GIN GAME (26). By D.L. Coburn. Febru-
Peter Dean Alfred Drake ^.y jg 1933 Director. Terry Burgler. With Rob-
Marta Muratian Marion Lines ^^ Gerringer, Patricia Falkenhain.
Thomas Ruyker Jr Charles Baxter
Charles Kendall Charies Brown HAVENT A CLUE (26). By Douglas Wat-
James Felton Andrew Umberger son. March 18, 1983. Director, Tom Markus.
Place: The tower room in a Scottish castle With Eric Christmas, Laura Copland, Henson
above the Hudson River. Act I, Scene 1: Friday, Keys, Ian Stuart, Randolph Walker.
VIRGINIA MUSEUM THEATER, RICHMOND— Charles Brown, Norman
Barrs, Kim Beaty, Marion Lines (foreground), Dana Mills, Tom McDermott,
Alfred Drake (the author of this play) and Lucien Douglas in a scene from The
Hiding Place
DAMES AT SEA (26). Book and lyrics by
George Haimson and Robin Miller; music by Jim
Wise. April 29, 1983. Director, Darwin
Knight. With Todd Taylor, Lora Jeanne Mart-
ens, Barbara Walsh, Kim Morgan, N.A.
Klein, Tim Barber.
Virginia Museum Theater: Studio Theater
HOME (12). By Samm-Art Williams. November premiere). Director, Tom Markus. With William
5, 1982. Director, Woodie King Jr. With Eliza-
beth Van Dyke, Nadyne Cassandra Spratt,
Samm-Art Williams.
A STRETCH OF THE IMAGINATION (12).
By Jack Hibberd. February 3, 1983 (American
Dennis.
BILLY BISHOP GOES TO WAR (12). By John
Gray and Eric Peterson. April 15, 1983. Direc-
tor, Terry Burgler. With Dan Hamilton, Man-
ford Abrahamson.
Designers: scenery, Charles Caldwell, Joseph A. Varga, Neil Bierbower, Susan Senita; lighting,
Richard Devin, Kevin Rigdon, Richard Moore, Lynne M. Hartman, F. Mitchell Dana, Jane Ep-
person; costumes, Susan Tsu, Bronwyn Jones Caldwell, Julie D. Keen, Rebecca Senske.
THE SEASON AROUND THE UNITED STATES
105
ROCHESTER, MICH.
Oakland University Professional Theater Program: Meadow Brook Theater
(General director, Terence Kilburn)
MACBETH (29). By William Shakespeare. Oc-
tober 7, 1982. Director, Arif Hasnain. With
David Regal, Lisa McMillan, Richard Hilger,
Linda Gehringer, Philip Locker.
THE ROYAL FAMILY (29). By George S.
Kaufman and Edna Ferber. November 4, 1982.
Director, Terence Kilburn. With Marian Pri-
mont, Jane Lowry, William Le Massena, Eric
Tavaris, Sara Morrison.
A CHRISTMAS CAROL (29). By Charles
Dickens; adapted by Charles Nolte. December 2,
1982. Director, Carl Schurr. With Booth Col-
man, Thom Haneline, Wil Love, Graham Pol-
lock, Kevin Skiles, Grace Aiello.
TALLEY'S FOLLY (29). By Lanford Wilson.
December 30, 1982. Director, Charles Nolte.
With Deanna Dunagan, David Regal.
THE CHILDREN'S HOUR (29). By Lillian
Hellman. January 27, 1983. Director, Terence
Kilburn. With Bethany Carpenter, Linda
Gehringer, Anne-Catherine O'Connell, Kather-
ine Thorpe, Philip Locker.
MORNING'S AT SEVEN (29). By Paul Os-
born. February 24, 1983. Director, Terence
Kilburn. With Roslyn Alexander, Jeanne Ar-
nold, Mary Benson, Maureen Steindler, Harry
Ellerbe, Philip Pruneau.
THE UNEXPECTED GUEST (29). By Agatha
Christie. March 24, 1983. Director, Terence
Kilburn. With Barbara Barringer, Richard
Blumenfeld, Peter Brandon, George Gitto,
Philip Locker, Tom Mahard.
THE FANTASTICKS (29). Book and lyrics by
Tom Jones, music by Harvey Schmidt; suggested
by Edmond Rostand's Les Romantiques. April
21, 1983. Director-choreographer, Judith Has-
kell: musical director, Robert McNamee. With
Keith David, Tamara Tunie, Jaison Walker,
Hugh L. Hurd, Norman Matlock.
Designers: scenery, Peter W. Hicks, Barry Griffith; lighting, Reid G. Johnson, Barry Griffith,
Deatra Smith; costumes, Mary Lynn Crum.
ROCHESTER, NY.
GeVa Theater
(Producing director, Howard J. Millman)
A HISTORY OF THE AMERICAN FILM
(23). By Christopher Durang; music by Mel
Marvin. October 30, 1982. Director, Howard J.
Millman; musical director, Mark Goodman;
choreographer, Jim Hoskins. With Monique
Morgan. William Pitts, Alison Eraser, Matthew
Kimbrough, Barbara Redmond.
THE GIN GAME (23). By D. L. Coburn. No-
vember 27, 1982. Director, Stephen Rothman.
With Arthur Peterson, Norma Ransom.
TARTUFFE: ALIAS THE PREACHER"
(23). By Moliere; translated and adapted by
Eberle Thomas and Robert Strane. December 3 1 ,
1982. Director, Eberle Thomas. With John Ster-
ling Arnold, Jay Bell, Kathleen Klein, Saylor
Cressell, Philip LeStrange, Monique Morgan.
MASS APPEAL (23). By Bill C. Davis. January
29, 1983. Director, Gus Kaikkonen. With Gerald
Richards, Todd Waring.
ALMS FOR THE MIDDLE CLASS (23). By
Stuart Hample. February 26, 1983. Director,
William Ludel. With Robert Downey, Laura
Esterman, Steven Gilborn, Kerstin Kilgo, Fritz
Sperberg.
AH, WILDERNESS! (23). By Eugene O'-
Neill. March 26, 1983. Director. Thomas
Gruenewald. With John Peakes. Carmen
Decker, Bill Pullman, Gerald Richards, Valerie
von Volz, Daniel Tamm, Denise Bessette.
Designers: scenery, David Emmons, Bennet Averyt, Rick Pike, Bob Barnett, John Kasarda. Wil-
liam Barclay: lighting, Walter R. Uhrman, William Armstrong, Bennet Averyt, Jeffrey Beecroft, Phil
Monat; costumes, Pamela Scofield, Mary-Anne Aston, Henri Ewaskio.
106
THE BEST PLAYS OF 1982-1983
ST. LOUIS
The Repertory Theater of St. Louis: Mainstage
(Artistic director, Wallace Chappell; managing director, Steven Woolf)
TARTUFFE (35). By Moliere; adapted by Miles
Malleson. September 8, 1982. Director, Philip
Kerr. With John Christopher Jones, Patrick
Farrelly, Joan Croydon, Sarah-Jane Gwillim,
Chris Limber, Susan Saunders, Joneal Joplin,
Arthur Hanket.
A TALE OF TWO CITIES (40). By Charles
Dickens; adapted and directed by Wallace
Chappell. October 20, 1982. With Philip
Kerr, Craig Dudley, Judith Roberts, Susan
Leigh, Brendan Burke.
A CHRISTMAS TAPESTRY (35). By Anton
Chekhov; adapted and directed by Jan Elias-
berg. December 1, 1982. With Skip Foster, Jeff
Ginsberg, Bradley Mott, Jim Reardon, Richard
Wharton.
PRESENT LAUGHTER (35). By Noel Cow-
ard. January 5, 1983. Director, Philip Kerr. With
Philip Kerr, Sarah-Jane Gwillim, John Christo-
pher Jones, James Paul, Sharon Laughlin.
HEDDA GABLER (35). By Henrik Ibsen; tran-
slated by Rolf Fjelde. February 9, 1983. Direc-
tor, Jan Eliasberg. With Katherine Borowitz,
John Christopher Jones, Martin Donegan,
Donna Snow, Richard Wharton.
UNDER THE ILEX TREE (35). By Clyde
Talmage. March 16, 1983 (world premiere). Di-
rector, Charles Nelson Reilly.
Dora de Houghton
Carrington Partridge Julie Harris
Giles Lytton Strachey Leonard Frey
Time: Dawn, March 11, 1932. Place: Ham
Spray House, Hungerford, England. Two inter-
missions.
The Repertory Theater of St. Louis: Studio Theater
SORE THROATS (17). By Howard Brenton.
April 1, 1983 (American premiere). Director,
Jan Eliasberg.
Judy Joan Macintosh
Jack David Little
Sally Denise Stephenson
Place: A bare flat in South London. One inter-
mission.
Designers: scenery, John Carver Sullivan, Carolyn L. Ross, John Roslevich Jr., Marjorie Bradley
Kellogg, Tim Jozwick; lighting, Glenn Dunn, Peter E. Sargent, Max De Voider; costumes, John
Carver Sullivan, Dorothy L. Marshall, Carolyn L. Ross, Noel Taylor.
Note: Play readings (2 performances each) were presented by the company at the First Street Forum:
Dual Heads by Shelley Berc, The Brides by Harry Kondoleon and Female Parts by Dario Fo, March
11-20, 1983. The Imaginary Theater Company toured Missouri mid-January to April, 1983, playing
107 performances of iVor so Grimm and A Wealth of Poe, adapted by Kim Bozark, director, Wayne
Salomon.
ST. PAUL
Actors Theater of St. Paul: Foley Theater
(Artistic director, Michael Andrew Miner)
THE SEAGULL (30). By Anton Chekhov. Oc-
tober 29, 1982. Director, Michael Andrew
Miner. With Louise Goetz, Barbara Kingsley,
David M. Kwiat, D. Scott Glasser.
FALLEN ANGELS (30). By Noel Coward. De-
cember 3, 1982. Director, David Parrish. With
Barbara Kingsley, David Lenthall, Sally Win-
gert, James Cada.
SEA MARKS (30). By Gardner McKay. Janu-
ary 7, 1983. Director, Michael Andrew Miner.
With Barbara Kingsley, D. Scott Glasser.
DISABILITY: A COMEDY (30). By Ron
Whyte. February 4, 1983. Directors, David Ira
Goldstein, Michael Andrew Miner. With David
M. Kwiat, Sally Wingert, Louise Goetz, David
Lenthall.
THE SEASON AROUND THE UNITED STATES
107
ANGEL STREET (30). By Patrick Hamilton.
February 25, 1983. Director, James Cada. With
David M. Kwiat, Louise Goetz, David Len-
thall, Barbara Kingsley, Sally Wingert.
PANTOMIME (30). By Derek Walcott. March
25, 1983. With James Cada, Wilbert Holder.
HAVE YOU ANYTHING TO DECLARE?
(30). By Maurice Hennequin and Pierre
Veber; translated and adapted by Cogo-Faw-
cett and Braham Murray. April 22, 1983. Direc-
tor, Sharon Ott. With Dianne Benjamin Hill,
James Lawless.
Designers: scenery, James Guenther, Chris Johnson, Dick Leerhoff, Arthur Ridley; lighting, Chris
Johnson, Paul Scharfenberg; costumes, Arthur Ridley, Chris Johnson, Nayna Raymey.
SAN DIEGO
Old Globe Theater: Edison Center — Festival Stage
(Executive producer, Craig Noel; artistic director. Jack O'Brien; managing director, Thomas R.
Hall)
THE MISER (47). By Moliere; adapted by Miles
Malleson. June 10, 1982. Director, Joseph
Hardy. With Paxton Whitehead, Victor
Garber, Deborah Fallender, Gary Dontzig, Bill
Geisslinger.
THE TAMING OF THE SHREW (40). By Wil-
liam Shakespeare. July 22, 1982. Director, Jo-
seph Hardy. With Tony Musante, Amanda
McBroom, Robert Strane, Deborah Fallender,
Francisco Lagueruela.
Old Globe Theater: Edison Center
THE TEMPEST (51). By William Shakes-
peare. June 12, 1982. Director, Jack O'Brien.
With Ellis Rabb, Monique Fowler, J. Kenneth
Campbell, Christopher Brown.
THE IMPORTANCE OF BEING EAR-
NEST (53). By Oscar Wilde. July 24, 1982. Di-
rector, Tom Moore. With Harry Groener/Don-
ald Corren, Victor Garber, Ellis Rabb, Barbara
Dirickson, Kate Wilkinson, Sands Hall.
THE SKIN OF OUR TEETH (36). By Thorn-
ton Wilder. January 13, 1983. Director, Jack
O'Brien. With Blair Brown, Sada Thompson,
Harold Gould, Monique Fowler, Jeffrey
Combs.
TERRA NOVA (36). By Ted Tally. March 3,
1983. Director, Gerald Gutierrez. With Benja-
min Henrickson, Michael MacRae, Christine
Healy, James Coyle, Larry Drake, Jonathan
McMurtry, Mark Harelik.
CLAP YOUR HANDS (36). By Ellis Rabb with
Nicholas Martin. April 21, 1983 (world pre-
miere). Director, Ellis Rabb.
Mr.Darling G. Wood
Wendy Patricia Conolly
Peter Ralph Williams
Time: The fall of the year at the present. Place:
The second-story library of a home built during
the Victorian era. Act I, Scene 1: Very late one
evening. Scene 2: Only moments later. Scene 3:
Too early the next morning. Act II, Scene 4: At
least a day later. Scene 5: Enough time later, near
dawn.
Old Globe Theater: Cassius Carter Center Stage
BILLY BISHOP GOES TO WAR (48). By John
Gray, with Eric Peterson. June 17, 1982. Direc-
tor, Craig Noel. With Harry Groener/Donald
Ogden Stiers, David Colacci.
THE GIN GAME (50). By D.L. Coburn. July
29, 1982. Director, Jack O'Brien. With Eve
Roberts, G. Wood.
MASS APPEAL (37). By Bill C. Davis. January
19, 1983. Director, David McClendon. With
Mark Dolson, Andrew Stevens.
WINGS (37). By Arthur Kopit. March 9, 1983.
Director, Eve Roberts. With Teresa Wright,
Tamu Gray, Robert Ellenstein, G. Wood.
THE DINING ROOM (37). By A.R. Gurney
Jr. April 27, 1983. Director, Craig Noel. With
Jonathan McMurtry, Kandis Chappell, Michael
Byers, Deborah Taylor, Jay Bell, Caroline
Smith.
OLD GLOBE THEATER, SAN DIEGO— Patricia Conolly and
G. Wood in Clap Your Hands, written and directed by Ellis Rabb
Designers: scenery, Steven Rubin, Douglas W. Schmidt, Richard Seger, Douglas Stein, Kent
Dorsey, Robert Morgan, Mark Donnelley, Alan Okazaki; lighting, Kent Dorsey, David F. Segal,
Gilbert V. Hemsley Jr, Robert Peterson, Steve Peterson; costumes, Steven Rubin, Sam Kirkpa-
trick, Robert Morgan, Ann Emonts, Dianne Holly, Mary Gibson, Sally Cleveland.
Old Globe Theater: Play Discovery Project
(Supervisor, Andrew J. Traister).
Staged readings, 1 performance each
THE DAY THEY SHOT JOHN LENNON by
James McClure; director, Ann Graham. January
24, 1983.
NORMAL DOESN T MEAN PERFECT by
Don Gordon; director, Andrew J. Traister. Feb-
ruary 28, 1983.
Note: Old Globe presented two educational tours: Actors, Lovers and Fools, a Shakespeare Mosaic
(56) Oct. 16-Dec. 13; and The Story of Macbeth by William Shakespeare as told by Charles and Mary
Lamb (58), Feb. 10 to April 16, director, David Hay.
STILL LIFE by Emily Mann; director David
Hay. April 25, 1983.
CHILD'S PLAY by William Parker; director,
James Bush. May 9, 1983.
STRANGE SNOW by Steve Metcalfe; director,
David McClendon. May 30, 1983.
THE SEASON AROUND THE UNITED STATES 109
SAN FRANCISCO
American Conservatory Theater: Geary Theater
(General director, William Ball)
THE DINING ROOM (48). By A. R. Gumey Barcone. With William Paterson/Sydney
Jr. August 4, 1982. Director, David Trainer. Walker, Lawrence Hecht/Dakin Matthews,
With Barry Nelson, Cathryn Damon, Richard Jeremy Roberts, Tom Parker.
Backus, Nicholas Hormann, Jeanne Ruskin,
Mary Catherine Wright.
UNCLE VANYA (28). By Anton Chekhov,
translated by Pam Gems. January 18, 1983. Di-
THE GIN GAME (27). By D.L. Cobum. Sep- rectors, Helen Burns. Michael Langham, with
tember 28, 1982. Director, James Edmondson. Eugene Barcone. With Dakin Matthews, Peter
With Marrian Walters, William Paterson. Donat, Deborah May, Barbara Dirickson, Wil-
liam Paterson.
DEAR LIAR (30). By Jerome Kilty, based on
correspondence between George Bernard LOOT (30). By Joe Orton. February 1, 1983.
Shaw and Mrs. Patrick Campbell. October 19, Director, Ken Ruta. With Sydney Walker, Ray
1982. Director, James Edmondson. With DeAnn Reinhardt, Sally Smythe, Bruce Williams.
Mears, Dakin Matthews. x>frMJXTTKT^'c at ccx/trKi /im d n i /-.
MORNING S AT SEVEN (30). By Paul Os-
THE CHALK GARDEN (33) by Enid Bag- born. March 15, 1983. Director, Allen
nold. November 9, 1982. Director, Dakin Mat- Fletcher. With Anne Lawder, DeAnn Mears,
thews. With Barbara Dirickson, Marrian Wal- Carol Teitel, Marrian Walters, Ray Rein-
ters, Annette Bening, Ray Reinhardt, Sydney hardt, William Paterson, Sydney Walker.
Walker
THE HOLDUP (3 1 ) By Marsha Norman. April
A CHRISTMAS CAROL (26). By Charles 12, 1983. Director, Edward Hastings. With Peter
Dickens, adapted by Laird Williamson and Den- Donat, Barbara Dirickson, Tom O'Brien, Law-
nis Powers. December 2, 1982. Director, Eugene rence Hecht.
Designers: scenery, Richard Seger, Robert Blackman, Ralph Funicello; lighting, Greg Sullivan,
Joseph Appelt, Dirk Epperson, James Sale, Duane Schuler, Robert Peterson; costumes, Michael
Casey, Robert Morgan.
American Conservatory Theater: Play s-in- Progress — The Playroom
A QUEEN FOR A DAY (13). By Allis Da- THE DOLLY (13). By Robert Locke. March 1,
vidson. February 8, 1983. director, Anne 1983. Director, Lawrence Hecht.
McNaughton. DEAD LETTERS (13). By Howard Koch.
March 16, 1983. Director, Janice Hutchins.
Note: ACT gave 26 special student matinees and interpreted six plays in sign language for the hearing
impaired. The Gin Game, Dear Liar and The Holdup toured northern California. Uncle Vanya played
two weeks at the Huntington Hartford Theater and The Chalk Garden and Morning's at Seven toured
Hawaii, ACT's 1 1th annual tour there. In September 1982, as part of a cultural exchange with China,
four Chinese theater specialists spent three weeks with ACT; and on April 28, 1983, Wilham
Bali and three other company members went to China to observe theater in Shanghai, Beijin, Souzhou
and Xian.
SARASOTA
Asolo State Theater Company: Ringling Museums* Court Playhouse
(Artistic director, John Ulmer; managing director, David S. Levinson; executive director/founder,
Richard G. Fallon)
CHARLEY'S AUNT (37). By Brandon han. With Joseph Culliton, John FilzGibbon, Isa
Thomas. June 24, 1982. Director. Stuart Vaug- Thomas, Vicki March, Carol McCann.
no
THE BEST PLAYS OF 1982-1983
THE MALE ANIMAL (33). By James
Thurber and Elliott Nugent. July 2, 1982. Direc-
tor, Jonathan Bolt. With Robert Murch, Mary
Francina Golden, Kenneth Kay, Dion Chesse,
Bette Oliver.
THE GIRL OF THE GOLDEN WEST (33). By
David Belasco. July 9, 1982. Director, Stuart
Vaughan. With Mary Francina Golden,
Kenneth Kay, Robert Murch, Karl Redcoff,
David S. Howard.
THE DINING ROOM (44). By A.R. Gurney
Jr. February 17, 1983. Director, Isa Thomas.
With Stephen Daley, Richard Hoyt-Miller,
Gretchen Lord, Innes-Fergus McDade, Victor
Slezak, Colleen Smith Wallnau.
A VIEW FROM THE BRIDGE (39). By Ar-
thur Miller. February 25, 1983. Director, John
Ulmer. With Stephen Daley, Karl Redcoff, Col-
leen Smith Wallnau, Gretchen Lord, Victor
Slezak, Rory Kelly.
MISALLIANCE (38). By George Bernard
Shaw. March 4, 1983. Director, Norris
Houghton. With Bradford Wallace, Bette Oli-
ver, Richard Hoyt-Miller, Cynthia Dozier, Karl
Redcoff.
MAN WITH A LOAD OF MISCHIEF (35).
Book by Ben Tarver; music by John Clifton;
lyrics by John Clifton and Ben Tarver. May
20, 1983. Director, Jim Hoskins; musical direc-
tor-conductor, David Brunetti. With Peter
Blaxill, Suzanne Grodner, Nancy Johnston,
Maggie Task, Roy Alan Wilson, Mark Zim-
merman.
Designers: scenery, Gordon Micunis, John Ezell, John Doepp; lighting, Martin Petlock; costumes,
Catherine King, Vicki S. Holden; Sally Kos Harrison.
Note: During the 1982-83 season, Asolo Touring Theater presented two companies in plays for young
people throughout Florida and the Southeast. The repertory included Peter and the Hungry
Wolf (kindergarten through 3d grade); Hercules and Friends by Eric Tull (4th to 8th grades); and
Six Canterbury Tales by Eberle Thomas (grades 9 to 12 and adults).
SEATTLE
A Contemporary Theater
(Founder/director, Gregory A. Falls)
FRIDAYS (23). By Andrew John. June 3, 1982.
Director, Clayton Corzatte. With Andrew
John, John Gilbert, R. A. Farrell, Kathryn
Mesney, Ursula Meyer, Allen Nause, Lyn Ty-
rell.
WAITING FOR THE PARADE (23). By John
Murrell. July 1, 1982. Director, Richard Ed-
wards. With Suzy Hunt, Kathryn Mesmey, Ur-
sula Meyer, Mara Scott-Wood, Lyn Tyrell.
THE GIN GAME (23). By D.L. Coburn. July
29, 1982. Director, Joy Carlin. With Ben
Tone, Julia Follansbee.
THE GREEKS: THE WAR (24) and THE
GODS (24). By John Barton and Kenneth
Designers: scenery, Thomas M. Fichter, Bill Forrester, Scott Weldin, Shelley Henze Schermer;
lighting, Jody Briggs, Phil Schermer, Donna Grout; costumes. Shay Cunliffe, Sally Richardson,
Marian Cottrell, Shelley Henze Schermer, Susan Min.
Note: ACT presented the Flying Karamazov Brothers on the mainstage Nov. 3-27. The Young ACT
Company, the professional touring company for young audiences, presented Aladdin and the Magic
Lamp (10) adapted by Gregory A. Falls, directed by Anne-Denise Ford, in the home theater and then
in nearby schools in the community, as well as on a three-week tour of Alaska.
Cavander. September 11, 1982. Director, Greg-
ory A. Falls, with Anne-Denise Ford; music by
David Hunter Koch and Andrew Buchman.
With John Aylward, Katherine Ferrand, Chris-
tine Healy, R. A. Farrell and the ACT Com-
pany.
A CHRISTMAS CAROL (45). By Charles
Dickens; adapted by Gregory A. Falls. Decem-
ber 3, 1982. Director, Eileen MacRae Mur-
phy. With John Gilbert/David Pickette, R. A.
Farrell, Noah Marks.
THE DRESSER (22). By Ronald Harwood.
May 5, 1983. Director, Jay Broad. With Donald
Ewer, Robert Blumenfeld.
THE SEASON AROUND THE UNITED STATES
111
Seattle Repertory Theater: Seattle Center Playhouse: Mainstage
(Artistic director, Daniel Sullivan; producing director, Peter Donnelley; associate director, Robert
Egan)
ROMEO AND JULIET (33). By William
Shakespeare. October 20, 1982. Director, Daniel
Sullivan. With Tuck Milligan, Amy Irving,
Lance Davis, Jeffrey Hutchinson, Florence
Stanley, Clayton Corzatte.
THE FRONT PAGE (32). By Ben Hecht and
Charles MacArthur. November 24, 1982. Direc-
tor, Daniel Sullivan. With Denis Arndt, Tom
Toner, Katherine Ferrand, Lori Larsen, Jeffrey
Hutchinson.
DEATH OF A SALESMAN (33). By Arthur
Miller. December 29, 1982. Director, Allen
Fletcher. With Edward Binns, Mary Doyle,
Mark Jenkins, John Procaccino, Robert Ellen-
stein, Gibby Brand.
TAKING STEPS (29). By Alan Ayckbourn.
February 2, 1983. Director, Daniel Sullivan.
With Ted D'Arms, Brenda Wehle, Shaun Aus-
tin-Olsen, Susan Cash, Brad O'Hare, Michael
Santo.
TRANSLATIONS (30). By Brian Friel. March
9, 1983. Director, Robert Egan. With Anthony
Mockus, Sean Griffin, Josh Clark, Peter Web-
ster, Marek Johnson, Ted D'Arms.
THE VINEGAR TREE (30). By Paul Os-
born. April 13, 1983. Director, Daniel Sul-
livan. With Ludi Claire, David White, Woody
Eney, Lori Larsen, Eve Bennett-Gordon, Nathan
Haas.
Seattle Repertory Theater: New Plays in Progress
(Director, Robert Egan)
Workshop premieres, 3 performances each
CROSSFIRE by Theodore Gross. January 10, MY UNCLE SAM by Len Jenkin. February 7,
1983. Director, Roberta Levitow. 1983. Director, Len Jenkin.
THE BALLAD OF SOAPY SMITH by Michael SHIVAREE by William Mastrosimone. Febru-
Weller. January 24, 1983. Director, Robert Egan. ary 21, 1983. Director, Daniel Sullivan.
Designers: scenery, Robert LaVigne, Edie Whitsett, Robert Dahlstrom, Ralph Funicello, Scott
Weldin, Kate Edmunds, Hugh Landwehr, Tom Fichter, Keith Brumley; lighting, Robert Dahl-
strom, James F. Ingalls, James Sale, James Verery, Christopher Beardsley; costumes, Robert
Blackman, Robert Wojewodski, Sally Richardson, Kurt Wilhelm, Julie James, Lisa Cervany.
STAMFORD, CONN.
The Hartman Theater
(Producing artistic director, Edwin Sherin; executive director, Harris Goldman)
A STREETCAR NAMED DESIRE (28). By Steven Margoshes; assistant choreographer, Wil-
Tennessee Williams. October 8, 1982. Director, liam Rohrig. With Woody Romoff, Dan
Edwin Sherin. With Shirley Knight, Fran Strickler, Gordon Connell, Mary Ellen Ash-
Brill, Peter Weller, Stephen Mendillo. ley, R. D. Robb.
STEAMING (28). By Nell Dunn. November 5, THE CAINE MUTINY COURT-MAR-
1982. Director, Roger Smith. With Pauline TIAL (28). By Herman Wouk; based on his
Flanagan, Judith Ivey, John Messenger, Lisa novel. January 7, 1983. Director, Arthur Sher-
Jane Persky, Polly Rowles, Linda Thorson, Mar- man. With Michael Moriarty, John Rubin-
garet Whitton. stein, Geoffrey Home.
A CHRISTMAS CAROL (28) By Charles ACTORS AND ACTRESSES (28). By Neil
Dickens; musical adaptation, book and lyrics by Simon. February 18, 1983 (world premiere). Di-
Sheldon Harnick; music by Michel LeGrand. rector, Glenn Jordan.
December 10, 1982. Director-choreographer, Nicholas Cassell Jack Warden
Charles Abbott; musical director, Ada Janik; Harmon Andrews Tom Aldredge
musical arrangements and additional music, Vince Barbosa Jay O. Sanders
HARTMAN THEATER, STAMFORD— Jack Warden and Michael
Learned in Actors and Actresses, a new play by Neil Simon
Polly Devore Polly Draper by Rudolf Friml; lyrics by P. G. Wodehouse and
Cara Heywood Michael Learned Clifford Grey; original play by William Anthony
Waiter Garrett M. Brown McGuire; adapted and directed by Mark
Tom Pryor Steven Gulp Bramble. March 18, 1983. Choreographer, Onna
Place: A motel in Gary, Ind. Act L About 9:30 White; musical director-arranger. Glen Roven;
A.M. Act IL The same evening about 1 1:15 P.M. orchestrations, Larry Wilcox; dance arrange-
One intermission. ments, Donald York. With Lynne Clifton
TTir: TTTDcrr x>ri tci^ tttcitd c /nox a i Allen, Clcnt Bowers, George Dvorsky, David
THE THREE MUSKETEERS (28). A musica ^ n * } r\ t«- d i^
, , , , J T^ Garrison, Patrick Quinn, Jeffrey Reynolds,
based on the novel by Alexandre Dumas; music
Designers: scenery, John Falabella, Marjorie Bradley Kellogg, Victor Capecce, Nancy Winters;
lighting, Marcia Madeira, Pat Collins, Andrea Wilson, Marilyn Rennegal; costumes, David
Murin, Jennifer Von Mayrhauser, Allen E. Munch, Freddy Wittop.
STRATFORD, CONN.
American Shakespeare Festival
(Artistic director, Peter Coe)
HENRY IV, PART 1 (32). By William
Shakespeare. July 6, 1982. Director, Peter
Coe. With Chris Sarandon, Michael Allinson,
Roy Dotrice, Mary Wickes.
HAMLET (40). By William Shakespeare. Au-
gust 3, 1982. Director, Peter Coe. With Christo-
pher Walken, Anne Baxter, Fred Gwynne.
Designers: scenery and costumes, David Chapman; lighting. Marc B. Weiss.
THE SEASON AROUND THE UNITED STATES
113
SYRACUSE, N. Y.
Syracuse Stage: John D. Archbold Theater — Mainstage
(Producing director, Arthur Storch; managing director, James A. Clark)
CAT ON A HOT TIN ROOF (28). By Tennes-
see Williams. October 22, 1982. Director, John
Going. With Kate Mulgrew, Robert Gentry,
Margaret Philhps, Walter Flanagan.
WE WONT PAY! WE WON'T PAY! (28). By
Dario Fo; North American version by R.G.
Davis. November 26, 1982. Director, Jerome
Guardino. With Judy Scarpone, Valery Da-
emke, Frank Biancamano, Robert DeFrank, Vic
Polizos.
DEATH OF A SALESMAN (28). By Arthur
Miller. December 31, 1982. Director, Steven
Schachter. With John Carpenter, Sylvia Gas-
sell, Richard Cottrell, Stephen Lang, Jeff Nat-
ter, Philip Pruneau.
Syracuse Stage: Landmark Theater
A CHRISTMAS CAROL (8). By Charles
Dickens; adapted by Stephen Willems. Decem-
ber 15, 1982. Director, Arthur Storch. With John
THE IMPROMPTU OF OUTREMONT (28)
By Michel Tremblay; translated by John Van
Burek. February 4, 1983. Director, Arthur
Storch. With le Clanche du Rand, Mary Jay,
Delphi Lawrence, Margaret Warncke.
DEATHTRAP (28). By Ira Levin. March 11,
1983. Director, Edward Stern. With Rudolph
Willrich, Carole Lockwood, John Abajian, Jill
Tanner, John Perkins.
THE TOOTH OF CRIME (28) By Sam She-
pard. April 15, 1983. Director, George Fe-
rencz; musical director-arranger, Bob Jewett.
With Ray Wise, Jodi Long, Richard Allen, John
Nesci, Peter Jay Fernandez, Raul Aranas, Ste-
phen Mellor, Benmio Easterling.
Carpenter, Gerard Moses, John P. Connolly,
Beverly Bluem, Scott A. Norton.
Designers: scenery, William Schroder, Kristine Haugen, Patricia Woodbridge, Hal Tine, Charles
Cosier, Bob Davidson, Bill Stabile; lighting, Spencer Mosse, Paul Mathiesen, Marc B. Weiss, Judy
Rasmuson, William T. Paton; costumes, William Schroder, Kristine Haugen, John David Ridge,
Nanzi Adzuma, Maria Marrero, Sally Lesser.
Note: Syracuse Stage presented a reading of November by Charles Primerano, January 9, 1983,
directed by Amy Dohrmann. Flashback (5), a children's theater production, directed by William S.
Morris, toured New York State during 1982-83.
TUCSON
Arizona Theater Company: Tucson Community Center Theater
(Artistic director, Gary Gisselman; managing director, David Hawkanson)
WHAT THE BUTLER SAW (28). By Joe
Orton. November 6, 1982. Director, Gary Gis-
selman. With Tony DeBruno, Liz Georges,
Arnie Krauss, Benjamin Stewart, Lillian Gar-
rett, Oliver Cliff.
A CHRISTMAS CAROL (28). By Charles
Dickens; adapted by Frederick Gaines. Decem-
ber 4, 1982. Director, Jon Cranney. With Benja-
min Stewart, Henry Kendrick, Tony De-
Bruno, Danny Taylor.
JOURNEY'S END (28). By R. C. Sherriff Janu-
ary 1, 1983. Director, Jon Cranney. With Henry
Kendrick, John-Frederick Jones, Douglas An-
derson, Cameron Smith, John Jellison, Troy
Evans, Michael Ellison, Benjamin Stewart, Oli-
ver Cliff.
MASS APPEAL (28). By Bill C. Davis. Febru-
ary 5, 1983. Director, Jay Broad. With Charles
White, Casey Biggs.
UNCLE VANYA (28). By Anton Chekhov.
March 5, 1983. Director, Gary Gisselman. With
Benjamin Stewart, Ken Ruta, Paul Ballan-
tyne, Katherine Ferrand.
THE DINING ROOM (28). April 2, 1983 Di-
rector, Jon Cranney. With J. Patrick Martin,
114
THE BEST PLAYS OF 1982-1983
Glenda Young, Richard Howard, Carol Kuy-
kendall, Judy Leavell, Guy Paul.
A FUNNY THING HAPPENED ON THE
WAY TO THE FORUM (28). Book by Burt
Shevelove and Larry Gelbart; music and lyrics
by Stephen Sondheim. May 25, 1983. Director,
Gary Gisselman. With Oliver Cliff, Ruth Ko-
bart, Cameron Smith, Michael Ellison, Benjamin
Stewart, Kitty Carroll.
Designers: scenery, Peter Davis, Jack Barkla, Don Yunker; lighting, Kent Dorsey, Don Dar-
nutzer, Michael Vannerstram; costumes, Sally Cleveland, Gene Davis Buck, David Kay Mick-
elsen, Bobbi Culbert, Jared Aswegan.
Note: Mass Appeal, What the Butler Saw, Uncle Vanya, The Dining Room, A Funny Thing Happened
on the Way to the Forum were presented at Phoenix College Theater for 12 days each from January
12, 1983 through May 10, 1983.
WASHINGTON, D.C.
Arena Stage: Arena Theater
(Producing director, Zelda Fichandler; executive director, Thomas C. Fichandler; associate direc-
tor, Douglas C. Wager)
ON THE RAZZLE (39). By Tom Stoppard;
adapted from Johann Nestroy's Einen Jux Will
Er Sich Machen. October 15, 1982 (American
premiere). Director, Douglas C. Wager.
Weinberl Stanley Anderson
Christopher Christina Moore
Sonders Kevin Donovan
Marie Yeardley Smith
Zangler Mark Hammer
Gertrud Franchelle Stewart Dorn
Belgian Foreigner Joe Palmieri
Melchior Charles Janasz
Hupfer; Waiter Henry Strozier
Philippine Cary Anne Spear
Mme. Knorr Barbara Sohmers
Mrs. Fisher Halo Wines
Coachman Terrence Currier
Waiter J. Fred Shiffman
German Man Michael T. Skinker
German Woman Jenny Brown
Scots Man Michael Heintzman
Scots Woman Katherine Leask
Constable David Toney
Piper Andrew Dodge/Douglas Nelson
Lisette Deborah Offner
Miss Blumenblatt Dorothea Hammond
Ragamuffin John Edward Mueller/
Seth Resnik
Time: Mid- 19th Century. Place: A small town
on the outskirts of Vienna. One intermission.
CYMBELINE (39). By William Shakespeare.
December 3, 1982. Director, David Cham-
bers; musical director-composer, Mel Marvin.
With Mark Hammer, Halo Wines, Caris Corf-
man, Philip Casnoff, Robert Burr.
SCREENPLAY (39). By Istvan Orkeny;
adapted by Gitta Honegger with Zelda Fi-
chandler; from a literal translation by Eniko
Molnar Basa. February 4, 1983. (American pre-
miere). Director, Zelda Fichandler.
Stella Joan Macintosh
Misi Frank Maraden
Adam Barabas Stanley Anderson
Novotni Terrence Currier
Marosi Mark Hammer
Piri Laura Hicks
Mrs. Litke Regina David
Maestro John Seitz
Mrs. Barabas Frances Chaney
Soldier; Musician Skip LaPlante
Soldiers: Britt Burr, Hand Bachmann, Mi-
chael Govan.
Time: September 22, 1949. Place: The great
circus of the capital, Budapest. One intermis-
sion.
GENIUSES (30). By Jonathan Reynolds. March
25, 1983. Director, Gary Pearle. With Charles
Janasz, Dan Strickler, Linda Lee Johnson, Joe
Palmieri, Dan Desmond, Joey Ginza.
CANDIDE (39 + ) Music by Leonard Bern-
stein; book by Hugh Wheeler; lyrics by Richard
Wilbur, Stephen Sondheim, John Latouche.
May 13, 1983. Director, Douglas C. Wager;
music director-conductor, Robert Fisher; cho-
reographer, Theodore Pappas. With Paul
Binotto, Marilyn Caskey/Julie Osborn, Richard
Bauer.
THE SEASON AROUND THE UNITED STATES
115
Arena Stage: Kreeger Theater
HOME (39). By Samm-Art Williams. October
22, 1982. Director, Horacena J. Taylor. With
Samuel L. Jackson, Elain Graham, S. Epatha
Merkerson.
THE IMAGINARY INVALID (39). By Mo-
liere. January 21, 1983. Director, Garland
Wright. With Richard Bauer, Christina
Moore, Marilyn Caskey, Charles Janasz, Henry
Strozier, Halo Wines.
BURIED CHILD (39). By Sam Shepard. April
15, 1983. Director, Gilbert Moses. With Stanley
Anderson, Halo Wines, Kevin Donovan, Kevin
Tighe, Christopher McHale, Christina Moore,
Henry Strozier.
Arena Stage: Play Lab
(Douglas C. Wager, James Nicola, co-directors)
HITCHIN' by Lewis Black. February 13, 1983.
MAN WITH A RAINCOAT by William
Wise. February 20, 1983.
Sew play readings, workshop premieres
FILIAL PIETIES by George Freek, January 30,
1983.
STREGA, OR THE WITCH by Anna
Cascio. February 6, 1983.
Designers: scenery, Tony Straiges, Ming Cho Lee, Karl Eigsti, Zack Brown, John Amone; lighting,
Allen Lee Hughes, Frances Aronson, Arden Fingerhut, William Mintzer, Hugh Lester; costumes,
Marjorie Slaiman, Anne Hould-Ward, Mary Ann Powell.
Folger Theater Group
(Artistic director, John Neville-Andrews)
THE MERCHANT OF VENICE (56). By Wil-
liam Shakespeare. September 28, 1982. Director,
John Neville-Andrews. With Richard Bauer,
Mikel Lambert, Jim Beard, Floyd King.
A MEDIEVAL CHRISTMAS PAGEANT (35)
December 6, 1982. Director, Ross Allen. With
Jim Beard, Thomas Schall, Floyd King, Chris
Casaday.
SHE STOOPS TO CONQUER (35). By Oliver
Goldsmith. January 24, 1983. Director, Davey
Marlin-Jones. With Thomas Schall, Jim
Beard, John Neville-Andrews, Chris Casaday,
John Wojda, Lucinda Hitchcock Cone.
MARRIAGE A LA MODE (36). By John
Dryden; adapted and directed by Giles Haver-
gal. March 7, 1983.
ALL'S WELL THAT ENDS WELL (38). By
William Shakespeare. May 2, 1983. Director,
John Neville-Andrews. With Peter Webster,
Gwendolyn Lewis, Floyd King, John Wylie,
Mikel Lambert.
Designers: scenery, Russell Metheny, Hugh McKay, Lewis Folden; lighting, Richard Winkler,
Hugh Lester; costumes, Barry Allen Odom.
WATERFORD, CONN.
Eugene O'Neill Theater Center: National Playwright's Conference
(President, George C. White; artistic director, Lloyd Richards)
New works in progress; 2 performances each. July 11 -Aug. 8
PROUD FLESH by James Nicholson; director, THE FURTHER
William Ludel.
FIRST DRAFT by Yale Udoff; director. Dennis
Scott.
MA RAINEY'S BLACK BOTTOM by August
Wilson; director, William Partlan.
ADVENTURES OF
SALLY by Russell Davis; director, Tony Gi-
ordano.
AWOL by Carol Williams; director. Amy Saltz.
THE BUNKHOUSE by Terrence Ortwein; di-
rector, John Pasquin.
ARENA STAGE, WASHINGTON, D.C.— Christina Moore and Stanley
Anderson in the American premiere of Tom Stoppard's On the Razzle
STARLIGHT TALK-
Betsko; director, Amy
STITCHERS AND
ERS by Kathleen
Saltz.
A KNIFE IN THE HEART by Susan Yanko-
witz; director, Dennis Scott.
THEATER IN THE TIME OF NERO AND
SENECA by Edvard Radzinsky; translated by
Alma H. Law; director, Dennis Scott.
SOME RAIN by James Edward Luczak; direc-
tor, William Partlan.
PLAYING IN LOCAL BANDS by Nancy
Fales Garrett; director, William Ludel.
COYOTE UGLY by Lynn Siefert; director,
Tony Giordano.
Company: Angela Bassett, Kathy Bates, Julie Boyd, John Braden, Joel Brooks, Rosanna
Carter, Veronica Castang, Dominic Chianese, Bryan Clark, Anita Dangler, Polly Draper, John
Dukakis, Charles S. Dutton, Roo Dutton, Christine Estabrook, Kevin Geer, Jack Gilpin, David
Marshall Grant, Jo Henderson, Kevin Kane, Kevin Kline, Leonard Jackson, Richard Jenkins, Robert
Judd, Paul Meacham, Paul McCrane, Alexandra Paxton, Pippa Pearthrce, Vic Polizos, Barry
Primus, James Ray, Willie Reale, Scott Richards, Marc Routh, Robert Schenkkan, Jamie
Schmitt, Seret Scott, Joe Seneca, Sloane Shelton, David Strathairn, Michael Tucker, Scott
Waara, Ken Welsh.
Designers: C Russell Christian, Jeff Goodman, Fred Voelpel, Ann Wrightson, Michael Yeargan.
Dramaturgs: Martin Esslin, Michael Feingold, Edith Oliver.
WEST SPRINGFIELD, MASS.
Stage West
(Producing director, Stephen E. Hays)
THE CRUCIFER OF BLOOD (23). By Paul
Giovanni. October 21, 1982. Director, Ted
Weiant. With Gregory Salata, John Doolittle,
Kimberly Farr, Richard Abernethy.
MASS APPEAL (23). By Bill C. Davis. Novem-
ber 18, 1982. Director, Gregory Abels. With
Larry Keith, Steven Culp.
THE SEASON AROUND THE UNITED STATES
117
SIDE BY SIDE BY SONDHEIM (23) Music
and lyrics by Stephen Sondheim, additional
music by Leonard Bernstein, Mary Rodgers,
Richard Rodgers, Jule Styne; continuity by Ned
Sherin. December 16, 1982. Director, Wayne
Bryan; musical director, J.T. Smith. With Anna
Marie Gutierrez, Michael Magnusen, Henrietta
Valor, Stephen E. Hays, J. T. Smith.
THE BELLE OF AMHERST (23). By William
Luce; compiled by Timothy Helgeson. January
13, 1983. Director, Donald Hicken. With Tana
Hicken.
HOME (23). By Samm-Art Williams. February
10, 1983. Director, Woodie King Jr. With Eliza-
beth Van Dyke, Nadyne Cassandra, Samm-Art
Williams.
A STREETCAR NAMED DESIRE (23) By
Tennessee Williams. March 10, 1983. Director,
Timothy Near. With Erika Petersen, John
Homa, Elizabeth Hess, Matthew Kimbrough.
CHAPTER TWO (24). By Neil Simon. April 7,
1983. Director, Stephen E. Hays. With Rudy
Hornish, John LaGioia, Jody Catlin, Annette
Miller.
Designers: scenery, Patricia Woodbridge, Joseph W. Long, Jeffrey Struckman, Jeffrey A. Fiala,
Paul Wonsek; lighting, Ned Halleck, Paul J. Horton, Margaret Lee. Paul Wonsek; costumes, John
Carver Sullivan, Georgia Carney, Jeffrey Struckman, Jan Morrison, Rebecca Senske.
Note: StageWest hosted a series of guest productions for children, including Maggie Magalita by
Wendy Kesselman, May 10-14, 1983. New Play readings in the 1982-83 season included Brass Birds
Don't Sing by Samm-Art Williams and Other Work by Steve Carter.
CANADA
HALIFAX, NOVA SCOTIA
Neptune Theater: Mainstage
(Artistic director, John Neville)
JUNO AND THE PAYCOCK (25). By Sean
O'Casey. November 12, 1982. Director, Tom
Kerr. With Joan Orenstein, Owen Foran, Sean
Mulcahy, Aaron Fry, Cathy O'Connell.
THE WIZARD OF OZ (32). Adapted by Alfred
Bradley from L. Frank Baum's book. December
10, 1982. Director, Ronald Ulrich. With Sherry
Thomson, Stuart Nemtin, Donald Burda, Garri-
son Chrisjohn, Bill Carr.
SPECIAL OCCASIONS (25). By Bernard
Slade. December 17, 1982. With John Neville,
Susan Wright.
Neptune Theater: Lunchtime Theater
THE GREEN GROW (7). By Sean Mulcahy.
November 23, 1982. Director, Paddy English.
With Joan Gregson, David Renton, Caitlyn
Colquahon, Barrie Dunn, Sean Mulcahy.
REUNION (14). By David Mamet. February 15,
1983. Director, John Neville. With Cathy O'-
Designers: scenery and costumes, Arthur Penson, Ray Robitschek, Andrew Murray; lighting, Gary
K. Clarke, Ray Robitschek.
FILTHY RICH (25). By George F. Walker.
February 4, 1983. Director, Peter Froelich. With
Donald Davis, Susan Hogan, Kate Lynch, Tony
Nardi, George Merner, Victor Ertmanis.
THE APPLE CART (25). By George Bernard
Shaw. March 11, 1983. Directors, John Nev-
ille, Tom Kerr. With John Neville, Lenora
Zann, Sean Mulcahy, George Memer, David
Renton, Paddy English.
COMEBACK (25). By Ron Chudley. April 15,
1983. Director, Paddy English. With Charles
Kerr, Jill Frappier, Don Allison, Laura Press.
Connell, John Dunsworth.
THE PROPOSAL (12). By Anton Chekhov.
March 29, 1983. Director, David Schurmann.
With George Merner, Cathy O'Connell, Aaron
Fry.
118 THE BEST PLAYS OF 1982-1983
Note: Special Occasions toured Nova Scotia, New Brunswick and Prince Edward Island April 5-17,
with David Brown and Nonnie Griffin.
MONTREAL, QUE.
The Centaur Theater Company
(Artistic and executive director, Maurice Podbrey)
BREW (BROUE) (48). By Claude Meunier, Ma Wilson Jennifer Phipps
Jean-Pierre Plante, Francine Ruel, Louis Sai'a, Act I: A day in May. Act II, Scene 1: July.
Michel Cote, Marcel Gauthier, Marc Messier; Scene 2: August. Scene 3: September. Scene 4:
translated by Michel Fremont-Cote, David February.
McDonald. October 7, 1982 (English language
premiere). With Michel Cote, Marcel Gauth- QUIET IN THE LAND (48). By Anne Chis-
ier Marc Messier. ^^^*- ^^^^h 17, 1983. Director, James Ray.
With Kenneth Welsh, John Aylward, Daniel
DUET FOR ONE (48). By Tom Kempinski. Nalback, Diane Gordon, Arthur Janzen, Ste-
November 6, 1982. Director, Scott Swan. With phanie Morgenstern, Florence Paterson, John
Maurice Podbrey, Fiona Reid. O'Krancy, Dan Lett, Karen Woolridge.
TRANSLATIONS (48). By Brian Friel. January EMPRESS EUGENIE (48). By Jason Lind-
6, 1983. Director, Elsa Bolam. With Marcy sey. April 14, 1983 (North American premiere).
Cohen, Geraint Wyn Davies, William Dunlop, Director, Marianne MacNaghten. With Viola
Michael Egan, Terence Kelly, Sean McCann, Leger, Griffith Brewer.
Nancy Palk.
PLAYING THE FOOL (48). By Alun Hib-
MOVING (48) By David Fennario. February 3, bert. May 26, 1983 (world premiere). Director,
1983 (world premiere). Director, Simon Mai- Gary Reineke.
bogat. John Gillie Fenwick
Betty Ann Diana Belshaw Harry Sean Sulhvan
Pa Wilson Griffith Brewer Ben Ken James
Francine Myriam Cyr Sheila Nicola Lipman
Janet Jennifer Dean Tonelli Vincent lerfino
Jimmy Wilson Robert King Ambulance Man Gilles Tordjman
Ronnie Roger A. McKeen Time: 1979. Place: Montreal. One intermis-
Richard Dennis O'Connor sion.
Designers: scenery, Denis Rousseau, Barbra Matis, Michael Joy, Marcel Dauphinais, Guido
Tondino; lighting, Claude Accolas, Alexander Gazale, Freddie Grim wood, Steven Hawkins; cos-
tumes, Francois LaPlante, Barbra Matis, Michael Joy, Francois Barbeau.
Note: Centaur opened the season with The Main (7), a collective creation celebrating the history of
Montreal. September 22, 1982. Directors, Damir Andrei, Rene-Daniel Dubois; music by Domenic
Cuzzocrea. With Sonia Benezra, John Blackwood, Domenic Cuzzocrea, Michael Rudder, Maria
Vacratsis, Renato Trujillo. Centaur operates two theaters, upstairs and downstairs.
STRATFORD, ONT.
Stratford Festival: Festival Stage
(Artistic director, John Hirsch; executive producer, John Hayes; founder, Tom Patterson)
In repertory:
JULIUS CAESAR by William Shakespeare. liam Shakespeare. June 8, 1982. Director, Robert
June 6, 1982. Director, Derek Goldby. With Jack Beard. With Douglas Campbell, Nicholas Pen-
Medley, R. H. Thomson, Len Cariou, Nicholas nell, Graeme Campbell, Pat Galloway, Susan
Pennell. Wright, Amelia Hall.
THE MERRY WIVES OF WINDSOR by Wil- THE TEMPEST by William Shakespeare. June
THE SEASON AROUND THE UNITED STATES
119
9, 1982. Director, John Hirsch. With Len
Cariou, Sharry Flett, Ian Deakin, Miles Pot-
ter, Jim Mezon.
ARMS AND THE MAN by George Bernard
Stratford Festival: Avon Stage
THE MIKADO by W. S. Gilbert and Arthur
SulHvan. June 7, 1982. Director-choreographer,
Brian Macdonald; musical director, Berthold
Carriere. With Gidon Saks, Henry Ingram, Eric
Donkin, Christina James, Marie Baron.
TRANSLATIONS by Brian Friel. July 17, 1982.
Director, Guy Sprung. With Biff McGuire,
Lewis Gordon, John Jarvis, Kate Trotter, Mary
Haney.
Stratford Festival: Third Stage
Shaw. August 5, 1982. Director, Michael
Langham. With Helen Carey, Carole Shelley,
Susan Wright, Douglas Campbell, Brian Bed-
ford.
MARY STUART by Friedrich Schiller; tran-
slated and adapted by Joe McClinton with Mi-
chal Schonberg. August 6, 1982. Director, John
Hirsch. With Margot Dionne, Pat Galloway,
William Needles, Amelia Hall, Jack Medley.
BLITHE SPIRIT by Noel Coward. September
10, 1982. Director, Brian Bedford. With Karen
Wood, Helen Carey, Brian Bedford, Tammy
Grimes, Carole Shelley.
A MIDSUMMER NIGHT'S DREAM by Wil-
liam Shakespeare. July 16, 1982. Director, Peter
Froehlich. Cheryl Swarts, David Huband, Diego
Matamoros, Seana McKenna, Eric Keenley-
side, Nicky Guadagni.
ALL'S WELL THAT ENDS WELL by William
Designers: scenery, John Pennoyer, Desmond Heeley, Susan Benson, Douglas McLean, Philip
Silver, Ming Cho Lee, David Walker, Patrick Clark, Christina Poddubiuk, Barbara Matis; lighting,
Michael J. Whitfield, Harry Frehner, Beverly Emmons, Steven Hawkins; costumes, Susan Ben-
son, Patrick Clark, Debra Hanson, Tanya Moiseiwitsch, David Walker.
Shakespeare. July 17, 1982. Director, Richard
Cottrell. With Fiona Reid, Charmion Kmg, John
Novak, Diego Matamoros.
DAMIEN by Aldyth Morris. August 4, 1982.
Director, Guy Sprung. With Lewis Gordon.
THE TEN
BEST PLAYS
Here are details of 1982-83's Best Plays — synopses, biographical sketches of
authors and other material. By permission of the publishing companies which
own the exclusive rights to publish these scripts in full in the United States, most
of our continuities include substantial quotations from crucial/pivotal scenes in
order to provide a permanent reference to style and quality as well as theme,
structure and story hne.
In the case of such quotations, scenes and lines of dialogue, stage directions and
descriptions appear exactly as in the stage version or published script unless (in
a very few instances, for technical reasons) an abridgement is indicated by five
dots ( ). The appearance of the three dots (...) is the script's own
punctuation to denote the timing of a spoken line.
ooo
ooo
ooo
ooo
ooo
ooo GOOD
A Play With Music in Two Acts
BY C.P. TAYLOR
Cast and credits appear on page 341
I
CECIL (C.P.) TAYLOR was born in Glasgow Nov. 6, 1929, the son of a salesman
and part-time journalist. He died Dec. 9, 1981, about two months after his play
Good was first presented by the Royal Shakespeare Company at The Warehouse
but before its subsequent presentations at the Aldwych Theater in April 1982 and
in New York in October. Taylor began writing plays at 30 and completed at least
70 works produced in the West End, throughout England and on television before
his death at 52. He wrote most frequently for the highly-regarded Live Theater
Company at Newcastle, where he was resident dramatist. He also served as literary
adviser to the Northumberland Youth Theater Association (1967-79), Tyneside
Theater Trust (1971-74), Everyman Theater in Liverpool (1971-73) and Traverse
Theater (1971-74). He was known for his work with mentally and physically
handicapped and other deprived persons, applying drama therapy at the Northgate
Hospital Arts Center, which he helped to establish, and in many other places and
instances.
The highlights of Taylor's playwriting career have included Bread and Butter
(1969), Black and White Minstrels f 7 972;, Bandits (produced by RSC in 1977 and
off off Broadway at the Labor Theater April 19, 1979 for 12 performances), A
Nightingale Sang (1980) and Schippel (1981). Good, his only major American
production and Best Play, opened on Broadway Oct. 13, 1982 for a 125-perfor-
mance run. Taylor was twice married, with four children. At the time of his death
he lived at Long Horsley near Newcastle.
"Good": by C. P. Taylor. Copyright © 1982 by C. P. Taylor. Reprinted by permission of Michael
Imison Playwrights, Ltd. See caution notice on copyright page. All inquiries concerning ama-
teur production rights should be addressed to: Dramatic Publishing Company, 164 Main Street,
Westport, Connecticut 06880. All inquiries concerning other rights should be addressed to: Mi-
chael Imison Playwrights, Ltd., Somerset House, 150 West 47th Street, Apt. 5F, New York, N.Y.
10036.
123
124 THE BEST PLAYS OF 1982-1983
Time: The 1930s
Place: Germany
ACT I
SYNOPSIS: The locales throughout the play are symbolized by typical objects
or furnishings — a bed, a piano, a chair, etc. — rather than represented by fully
realized sets. Many of the mood and scene changes are keyed to music which rises
in the mind of the leading character, Haider, and is played by musicians or sung
by persons visible on stage. The scenes often shift abruptly from place to place
and even back and forth in time.
A 1930s dance band ensemble is playing "I'm Always Chasing Rainbows,*'
Haider, a young teacher at the university in Frankfurt, Germany, explains to the
audience: "The bands came in 1933. So you can't say they came with the rise of
the Nazis, exactly. The Nazis were on the rise long before that. To some extent,
it was a device that was with me from childhood. Bringing music into the
dramatic moments of my life. But from '33, they became an addiction. Jazz bands
. . . Cafe bands . . . Tenors . . . Crooners . . . Symphony orchestras . . . depending
on the particular situation and my mood. A strategy for survival? Turning the
reality into fantasy? "
A Sister calls out to Haider that he can now see his mother, who is brought
in in a wheelchair. Haider's mother is being treated for senility in a Hamburg
facility. She is losing touch with reality — she thinks that Haider's wife Helen has
also come to visit and is in the room (she isn't), and she imagines that her son
is a Marxist (he isn't) who is about to be put in prison by Hitler.
MOTHER: Listen . . . I'm going out of my mind . . . Johnnie, I've got to go home.
H ALDER: You Can't see, mother.
MOTHER: What about your house?
HALDER: With the children and Helen ... I couldn't cope with you, mother.
/ would . . . but how can I ask the children and Helen . . .
MOTHER: Listen. Is that my imagination too? This place, it's a front. Men come
up here to go with the women . . . that Sister, there . . .
HALDER: This hospital's a front for a brothel?
MOTHER: Is it not? . . . Johnnie, this is a bad business . . . I'm going out of
my mind.
HALDER: I could cope with you for a week, mother . . . We'd like to have
you for a week or so . . . But you know what Helen's like. She can't even organ-
ize the house with just ws in it . . . You couldn't be happy . . . You never are
there . . .
MOTHER: The best thing is to take twenty or thirty of my pills and finish myself
off once and for all . . .
HALDER: You could do that. It's against the law, but . . .
BEFORE AND AFTER IN GOOD— Alan Howard
as a university professor (above, with Felicity Dean)
gradually remodeled into a member of the Nazi SS
(left)
126 THE BEST PLAYS OF 1982-1983
MOTHER: What have I got to live for? I can't see. My eyes are finished.
Nobody wants me . . . I'm better out of it . . . What have I got to live for, for
God's sake!
HALDER: (looks round . . . lost ... ): A difficult question, that.
The scene shifts to a government office building where Haider is looking for
Over-Leader Philip Bouller and his newly-formed Committee for Research.
Haider has an appointment and is impressed with these handsome quarters in
what was once a luxurious private dwelling.
The scene shifts again, abruptly, to a consultation between Haider and his
closest friend, Maurice, a doctor. Haider is suffering from what Maurice calls "a
bad attack of bands."
HALDER: Not very big bands . . . Music, generally. Odd times, the Berlin
Philharmonic . . . Last Senate meeting it was the Phil . . . playing the storm
movement of the Pastoral . . .
MAURICE: What's he saying to me? I don't understand what you're saying to
me . . . You've made a decision to try and throw off this neurosis you've been
living with all your life to give your work and family relationships a more healthy
basis . . . What does that mean, Johnny? That's just words. We don't work hke
that, for Christ's sake . . . You and me.
HALDER: I want to try . . . All my work so far has been based on this bloody
anxiety neurosis ... I do ... I want to see what work I can do, free of
it . . .
MAURICE: People don't go to analysts to streamline their lives . . . They go to
free themselves from agony . . . Just now, my agony ... my neurotic track
. . . that wakes me up at four o'clock in the morning in a panic . . . I'll tell you
about it . . . Give you insights into yours ... I can see . . . objectively . . .
Intellectually . . . The Nazis . . . That's just flag-waving to get hold of the masses
. . . This anti-Jewish hysteria . . . Now it's got them where they wanted to
go . . .
HALDER: I can't get lost, you see. I can't lose myself in people or situations.
Everything's acted out against this bloody musical background. I mean, could it
be some subconscious comment on my loose grip of reality? The whole of my life's
a performance. Is that too glib, do you think, Maurice?
MAURICE: If you knew the unconscious like I do . . . nothing's too glib for that
bastard
A clerk at the government building comes to tell Haider that Over-Leader
Bouller will see him shortly.
Then back to Maurice, who has no simple way of ridding Haider of his music
neurosis. As for his own nightmare, *T know how much Germany depends on
Jewish brains . . . Jewish business . . . Hitler's got all the power he needs now.
They're bound to drop all that racial shit they had to throw around to get their
votes . . . They can't afford nor to ... I know that . . . But I can't believe it."
Haider agrees, but Maurice goes on about his feelings — Jewish or not, he is a
German first and intensely proud of his beautiful city of Frankfurt, his home.
GOOD 127
Meanwhile Haider is talking to himself about Maurice: "He's a nice man. I love
him. But I cannot get involved with his problems. So in the next few months they
might kick in his teeth. But just now, he's all right. What's he worried about? I
bet you he has no problems in bed with his wife." Haider's problems are immedi-
ate.
Maurice, recalling that Goethe once ignored a desperate appeal from Beetho-
ven for money, declares, "Hitler has perverted the whole nature of our relation-
ship," placing Maurice in danger while Haider is free to pursue his promising
academic career, untroubled. Haider tries to reassure his friend: "They've got to
drop the anti-Jew program ... In the long run ... for the survival of the bloody
state."
A cafe trio is playing "Star of Eve" from Tannhauser as Haider makes his way
through the messy clutter of his house. His wife Helen is lying in front of the fire,
reading, waiting for Haider to cook the children's supper. Husband and wife
converse in recitative, to the music. Helen is appalled at her own slovenliness and
can't think why Haider should love her — but he does.
In the government office building, Over-Leader Bouller will finally see Haider.
The two men "Heil Hitler" at each other and proceed to discuss a matter which
Bouller characterizes as top secret. Bouller's superiors have recommended Haider
as "a person of total loyalty to the state and National Socialism." Haider goes
so far as to admit, "I am committed to use whatever abilities and talents I might
have for the betterment of the lives of the people round me."
In his latest novel — about life in a home for the aged — Haider has apparently
dealt with matters of morahty in such a way as to attract the attention of the Nazi
leadership as "a comrade who we can trust and who is, at the same time,
something of a figure in the academic world." Now they want Haider to look at
a letter from the father of a deformed child — and not a word about it to anyone,
not even his wife.
Back in his home, Helen calls to Haider. He assures her he doesn't mind that
the house is a mess.
HALDER: It's all right. The children are used to it.
HELEN: You come back from a hard day at work, and I overwhelm you with
self pity . . .
HALDER: Yes.
HELEN: You shouldn't stand this. Me turning your house into a shithouse,
Johnnie.
HALDER: Tell you what. After tea, we'll clean it up.
HELEN (with a pastry): I wish you wouldn't buy pastries any more. It's just
indulging my greed and making me fat . . .
HALDER: Don't eat them.
HELEN: For Christ's sake, why do you love me?
HALDER: I don't know why I love you. Have you got to?
HELEN: I can't even look after your bloody kids
Helen's father phoned today to suggest that Haider join the National Socialist
Party in order to insure his future at the university (Goebbels has read and
128 THE BEST PLAYS OF 1982-1983
admires Haider's Faust and Goethe in Weimar). Haider assures Helen that she
and the children mean everything to him, and he tells her again that he loves her.
In a moment, Haider is again with Maurice telHng the doctor of a young female
student's visit to his office. A tenor enters singing "You Are My Heart's Delight"
(which Haider heard during the visit) as the student, Anne, describes to her
professor her inability to relate literature to life, the everyday facts of which seem
more important to her than the great visions of Goethe. Haider, aroused by Anne,
suggests they continue to explore this subject in an appointment that evening.
Anne agrees. Haider tells Maurice, "Listen . . . What could it be ... Is nothing
I touch real ... Is it? My whole life is like that ... I do everything, more or less,
that everybody else does . . . But I don't feel it's real. Like other people."
Marlene Dietrich is heard singing "Falling in Love Again," as Haider thinks
out his situation aloud, concentrating on problems he might face if he left Helen
for Anne. When Helen wakes up, Haider tells her of the student asleep on the
couch downstairs, and that he's decided to join the Nazi Party "because I love
you . . . You know that. If it was just myself, I'd take a chance. I'm not one
hundred per cent sure about Hitler . . . You understand that ... I love you and
the children ..." Helen must never leave him, she's the best wife in the world,
and he loves her.
In the Over-Leader's office, Bouller reveals that Goebbels himself admired
Haider's novel. Haider admits to the audience, "They got me at a bad time," and
adds, "With my mother in the state she got herself in . . . and the state I got in
at her state, I had to write all the guilt out in a pro-euthanasia novel." But Haider
can't help feeling a thrill of pride when he learns that Hitler himself has looked
over the "pro-euthanasia" work and commented, "Written from the heart!"
Haider hears a Bavarian Mountain trio singing and playing while he imagines
himself living in the forest with Anne. She comes in wearing Haider's dressing
gown, and she senses that Haider is now fighting the fondness for her he expressed
the night before, even though the feeling is clearly mutual. Haider tries to explain
that in spite of everything he is devoted to his children and could never leave
them, but Anne comments, "John . . . you're drowning . . . I'm not saying that
because I love you and I need you . . . You're drowning ..."
Helen enters in her dressing gown, apologizing to Anne for the mess the house
seems to be in. Helen is struck by Anne's youthful appearance (Anne is nearly
20), though she herself has come to terms with her own age, which is 30.
A street musician strikes up a few bars of a Yiddish wedding song, of which
Maurice sings a few bars as Adolf Hitler strikes a pose and is soon addressing
the world on such subjects as the makeup of a human being ("a complex electrical
and chemical network"), the human condition ("man, you are born to uncer-
tainty"), manhood ("for the first time in my life I am breaking free from the
emotional umbilical cords that tied me to my mother"), etc. Maurice labels much
of this "Charlie Chaphn," and Haider tries to explain that Hitler exists because
the Nazis gave the workers what the Social Democrats promised but failed to
dehver.
HITLER (to the world): Breaking through to manhood. Completing myself as
a human being . . . Establishing new emotional and physical umbilical strands
GOOD 129
with a woman I have chosen in my manhood. (To Maurice.) Yes. I'm being
pretentious and heavily profound. But it does happen. From time to time, you
are confronted by profundities ... (To himself. ) I have got to get out of this
. . . apologizing for any profound universal statement that comes to me . . .
watching my thoughts and language so that they're continually muted, tied to the
earth . . . when you fly, you fly . . . when you walk on the earth you walk on the
earth.
MAURICE (to Haider): You see . . . my fellow Jews. I can't stand them. My best
friends are gentiles and Nazis.
HITLER: (to the world): What is the objective reality? The objective reality is,
there is no objective reahty. I don't know. Who knows? Where am I? I don't know
where I am. I don't know what I'm doing. I don't know I don't know what I'm
doing. Is that possible?
MAURICE: I'm telhng you, you're right. Johnny, tell him he's right.
HITLER: How do I bring about a balance between the electrical and chemical
forces in my body to make for something like the optimum functioning of myself
as an organism?
HALDER: By joining the Nazis?
HITLER: But now I am moving to a soul union.
MAURICE: Huh!
HITLER: What the fuck else is it, for Christ's sake? That's what it is. That's what
I'm looking for. A soul union (To the world. ) Now I am moving to a soul
union.
HALDER and HITLER: Joining the Nazis is no longer a simple case of my own
electrical and chemical state.
HITLER: It is hers too.
HALDER (to Hitler): That's what I'm telling you. I have to see Anne, first.
Before I can make a definite decision.
HITLER: (to himself): Yes. Now, I understand why I have to see her.
HALDER: Do I?
MAURICE: John. This is a classic neurotic relationship. My best loved friend
is a Nazi.
Haider consults Anne about joining the Nazis. Anne hates their anti-Jewish
policies (Haider agrees that a Germany without Jews would be unreal) but to her,
the important thing is to survive independently in one's own family corner,
hurting others as little as possible. Haider concludes, "It's not only survival, is
it? Joining the Nazis. If people like us join them . . . instead of keeping away from
them, being purist and pushed them a bit towards humanity ... is that
kidding yourself?"
Anne is afraid that maybe the Nazis might push them instead. If so, Haider
assures her, 'T'd get out ... no question about it We'd get out of the
country." Nevertheless, Anne is afraid for Haider.
In Bouller's office, the Over-Leader hands Haider a letter, explaining that it is
one of many requests received at the Chancellery from relatives of incompetent
persons requesting that they be put to mercy death — an example of citizens of
the new Germany coming to terms with reality. Haider tries to argue that such
130 THE BEST PLAYS OF 1982-1983
an attitude "does not always lead to humanity and compassion," but Bouller
continues on his own track.
BOULLER: Haider, we want a paper from you. Arguing along the same hnes
as you do in your novel, the necessity for such an approach to mercy killings of
the incurable and hopelessly insane, on the grounds of humanity and compas-
sion.
H ALDER: The novel came out of a direct experience . . . my mother's senile
dementia.
BOULLER: Exactly. This is what makes your analysis so potent. As the Leader
says, "From the heart" . . . And I would add, from the mind. I take it the opinions
so clearly expressed in your book, Haider, are firm personal convictions . . .
HALDER: Below a certain level of the quality of human life ... yes ... I can't
see it worth preserving. From the individual sufferer's point of view and his
family's . . . yes . . .
BOULLER: Look here. Professor ... let me be open and frank with you ... I
could rest much easier in my bed, with your participation in this project . . . You
and I know how these things can get out of hand . . . There are certain elements
in the party . . . And aside from that aspect ... the inhumanities that can happen
in hospitals and other medical institutions ... If we have you with us. You follow
me? This would be for me, a guarantee that the whole question of humanity in
the carrying out of this project would never be lost from the initial stages of
planning, to the final implementation of the scheme.
HALDER: I'll draft out a paper for you, Over-Leader ... in the next
week . . .
Bouller joins a group of SS men waving tankards of beer and singing "The
Drinking Song" from The Student Prince. The atmosphere of camaraderie here
in the marble halls of the National Socialist Office lifts Haider's spirits. An SS
major, Freddie, comes forward to join him in reminiscence of their service with
the army in 1916. Joining the Nazi party reminds Haider of the thrill of wearing
his army uniform for the first time. The Major suggests that an old soldier and
intellectual like Haider should aim for membership in the SS, an elite corps
comparable to the onetime Kaiser's Imperial Guard. Freddie and his SS troop
seem so friendly that Haider can't help liking them.
HALDER (to audience): He was such a nice, open man . . . His father was a
school teacher ... So v^as his wife's father ... He wasn't a cliche Nazi ex-jailbird
thug . . . And he told me what Hitler had said to him . . .
FREDDIE: I can hear his voice, now. That Austrian accent. Pleasant, quiet,
concerned. He was so concerned about us.
HALDER and HITLER: I should like to make you two pledges. I will never give
a command to march against the lawful government of Germany — that is, I will
never attempt a second time to come to power by force.
FREDDIE: We all looked at him. Everybody was surprised. This is 1932 I am
talking about. The terrible conditions. Inflation. Unemployment. Children in the
streets in winter without shoes ...
GOOD 131
HALDER and HITLER: And I promise you, I will never give you an order which
goes against your conscience.
The chorus swells — "Drink, drink drink Let every true comrade salute
the true flag " Curtain.
ACT II
Maurice begs Haider to get him tickets to Switzerland. Haider assures "my
only bloody friend" that he would if he could, and he promises himself that if
Maurice is caught in a roundup he'll join him in prison. As Maurice continues
to beg Haider for help to get away, Haider's mind skips to a time when his mother
was beginning to realize that her mind was going and she could no longer manage
without help, even in her own home.
A burst of flame signals the existence of a bonfire where Haider is helping an
assistant named Bok to screen books for the burning, while a jazz trio plays
Bach's fugue in D major and/or a jazz version of "Hold That Tiger." Proust's
Remembrance of Things Past goes into the flames ("Don't want to waste any time
on the past, do we?") as the SS Major, Freddie, enters, followed by his wife
Elisabeth and Anne. Elisabeth is pleading with her husband to find Haider and
Anne a place to live. "We'll organize that. Don't worry about it," Freddie assures
his wife.
Haider is visiting a hospital, inspecting it, and explaining to a doctor: "I think
Berlin sees me as some kind of humanity expert . . . My role is to look round,
assess the arrangements and make some recommendations on general humane
grounds."
To show that he trusts his friend Haider, Freddie lets him in on the secret of
his private vice: he collects jazz records, which are considered by the party to be
"decadent Negroid swamp jungle music" — and he knows for a fact that Hitler
enjoys watching the movies of Charlie Chaplin, who is a Jew. Freddie is behaving
in this more than ordinarily friendly fashion toward Haider because he has a
difficult order to transmit to him. Freddie hands the paper to Haider, who reads
it and discovers he is directed to organize a book-burning ceremony at the
university. Haider is relieved: "It's just books. " Apparently he feared it might be
something worse.
Haider tells himself there is "a positive aspect" to the consigning of works of
Thomas Mann, Remarque and Freud to the bonfire: "One of the basic defects of
university life is learning from books. Not from experience The burning is
symbolic of a new, healthy approach to university learning." Haider means to
keep his own copies, however, just as Freddie has his illicit "jungle music"
collection.
A lieder, Schubert's "Standchen," is the music background as Haider, who is
planning to leave Helen for Anne, is trying to teach his wife a recipe for goulash
because it is especially easy to prepare. His mother calls to him from upstairs that
she has to use the toilet. Haider goes to assist her, and she proceeds awkwardly
through this embarassingly physical process.
132 THE BEST PLAYS OF 1982-1983
MOTHER: Where's the toilet paper? ... My God. I can't find it. This
miserable house . . . They don't even have any toilet paper ... I knew it was an
unlucky house the first time I stepped through the door . . .
HALDER: There's the toilet paper, for God's sake. Mother — why the hell did
you have to tell Helen about Anne?
MOTHER: Where's the wash-hand basin? I need to wash my hands . . .
HALDER: Follow the wall . . . Use your imagination . . . You'll never be able
to bloody live on your own if you don't give yourself a shake . . .
MOTHER: I'm sorry, son ... I can't perform for you ... I can't take it in
. . . and be independent, so you can run off with your prostitute and leave me on
my own without feeling guilty . . . Where's the bloody tap . . .
HALDER: Use your imagination . . .
MOTHER: I can't wash my hands with imagination, son. Maybe you can. God
in heaven . . . The women you pick ... I told you from the beginning . . . Your
father did . . . That woman is no good to you . . . Didn't we plead with you
. . . the night before your wedding, to call it off" . . . Where are you taking me
now?
HALDER: I'm taking you back to the bedroom.
MOTHER: I've been stuck up there all day. I want to go downstairs . . . What
are you going to do about the children?
HALDER: They'll be all right . . . I'll look after them.
MOTHER: That woman. Dear God, she can't even make a cup of coffee. She
gave me bread and butter this morning . . . The bread was cut like doorsteps
... I want to go downstairs . . .
HALDER: Sit in your room a minute . . .
MOTHER: Will you take me downstairs . . . What do you think you're doing
. . . Torturing me here . . . Locking me up like a prisoner with not a soul coming
to see me all day ... If that is what you wanted to do . . . Giving me a holiday
with you . . . You should never have taken me out of the hospital . . .
Haider is showing Helen how to prepare a detail of the goulash, while she tells
him she began falling in love with him long after they were married, only a few
months ago, so that his loving someone else hurts her deeply. Haider tells Helen
he won't leave her (and doesn't himself know whether he means it). Haider's
mother is calling him from upstairs to go to the toilet again, while Helen goes
on about her total dependency on Haider, even for friendship — he is her only
friend as well as her husband.
Abruptly, Haider is talking to a doctor in the facility he was visiting and
inspecting.
DOCTOR: When you come to this level ... Is this human life? She has no control
over her bladder or her bowels . . . The dimmest awareness of her environment
and what is happening round her.
HALDER: We can take the arguments as read I think. Doctor. What we have
to make sure of is that the procedure is carried out humanely . . . Their last hour
must be absolutely free from any trace of anxiety.
DOCTOR: Absolutely ... of course . . .
GOOD 133
HALDER: This room is adequate . . . But it needs to be made more ordinary
and reassuring . . . Could it be made to look like a bathroom, p>erhaps? ... So
that the patients are reassured and believe they are being taken for a bath . . .
DOCTOR: Yes. So they come in here . . . Ostensibly for a bath ... a normal
daily routine.
The manner in which the families will be informed of the decease of their loved
ones is an important detail ('The families have had enough pain as it is, looking
after poor souls"), and Haider plans to hold a conference to discuss it.
Then Haider is meeting his fnend Maurice in a park — under the circumstances,
neither can be seen going to the other's house. Even more desperately than before,
Maurice needs five tickets to Switzerland for himself and family; but even though
he is now an SS officer, Haider can't just go up to the window and buy them. He
advises Maurice not to panic. He is inwardly torn ('T love Jews . . . I'm attracted
to their whole culture . . . Their existence is a joy to me . . . Why has it got to
be a bloody problem to everybody . . ."). Maunce is afraid that the Nazis "want
to crucify me" and will soon go so far as to pass laws "against men without any
foreskins." Haider reassures his friend that Hitler can't last more than a year or
so, until the capitalist system starts working again, with "everybody moving in
the one direction."
Maurice offers to give Haider his cottage, where Haider and Anne can live in
privacy, in exchange for tickets to Switzerland, but Haider fears that the railroad
station is watched. Maurice has brought Haider some cheesecake, purchased from
a man named Epstein, commenting as he hands it to Haider, "I can't stand Jews. I
spent thirty-five marks there in one go. They didn't even look at me. You're right.
There is something seriously wrong with the Jews. I can see Hitler's point."
HALDER {to himself): Thirty-five marks. For a grocery order!
MAURICE: What kind of neurotic am I . . . I've been through analysis . . . Nazis
I buy cheesecake for, while they're passing laws to ruin my whole life. Jews, in
the same boat as me, who haven't done me any harm, except they don't wish me
"Good afternoon," I can't stand . . .
HALDER: Another word for the human being Maurice, neurotic.
MAURICE: Yes — from the moment you're born into the world . . .
HALDER: Maurice, stop panicking, for God's sake. It'll be all right, I'm telling
you.
MAURICE: Yes, for you it'll be all right, for Nazi cunts it's going to be a
beautiful world.
HALDER: Maurice, you are in a panic state. It is pointless trying to reason with
you just now. We'll talk about it when you are calmer.
MAURICE: Yes, when I'm lying in the fucking ground raked with Nazi cunt
machine gun bullets.
H.\LDER: That's right, Maurice, we'll talk about it then.
Haider is discussing with the Doctor the problem of the families of euthanasia
patients. They should be told that their loved ones are being taken for a new kind
of treatment, which should always seem hke normal procedure to the patient. But
L
134 THE BEST PLAYS OF 1982-1983
"once the decision has been reached to terminate," there should be no delay in
implementing it.
The flames of the bonfire leap up to the music of a fugue, as Anne and Haider
discuss the possibility of using the summer house belonging to Freddie. The
book-burning frightens Anne, and she and Haider cling to each other as the
flames flare up.
A crooner is providing the musical background, singing "My Blue Heaven,"
as Freddie brings a load of logs into the house where Haider and Anne are now
living (not the summer house, but a full-fledged establishment) and where they
have invited Freddie and his wife Elisabeth for dinner. Freddie confides to Haider
that he and Elisabeth can't have children (the defect is his), which will earn him
the disapproval of the Nazis and bar him from any further promotion.
A blond young man arrives on a motorbike with a despatch for Freddie: a
Polish Jew has shot a German diplomat. Von Rath, in the Paris embassy, and
Freddie is ordered to come to headquarters at once. He speculates that it might
be prudent to have someone like the young despatch rider produce a child with
his wife Elisabeth. Anyhow, Freddie has to leave the dinner party and go on duty
"to burn down a few synagogues and arrest some Jews." A "spontaneous demon-
stration of the indignation of the people of Germany" will be carefully planned
and arranged for the next night.
Abruptly, Haider is being interviewed by Over-Leader Eichmann, who tells
him, "I think we can work well together." Eichmann has noticed that Haider has
never written specifically on the Jewish question (his field, after all, is German
literature), but he has made some important comment on the "corrupting" influ-
ence of the Jews on Western literature. And Eichmann has noted that Haider has
a Jewish friend, one Maurice Gluckstein. Haider comments that it is "mainly a
professional relationship," patient and doctor.
Haider launches into a monologue as though lecturing to students, addressing
the audience, then himself, then Maurice. He tells his class that Jewish literature
ignored the social character and needs of man in favor of the individual. He tells
the audience that the "Jew operation" known as the Night of the Broken Glass
weighed on his mind and upset his digestion. He tells himself that he is happy
and successful. He tells Maurice (with a Mendelsohn viohn concerto in the
background) that even the violent excesses of anti-Jewish action must be viewed
in historical perspective.
HALDER: I am not deluding myself . . am I? Maurice? This is a regime
in its childhood . . . It's social experiment in its earliest stages . . . You know what
a child is like . . . Self discipline isn't formed, yet a large element of unpredictabil-
ity .. . It could be ... if the Jews stayed here much longer . . . You see what
I'm getting at? . . . Some of the extreme elements in the regime, could get out
of hand . . . Christ knows what they would do to the Jews next ... I see tonight
... As a basically humane action . . . It's going to shock the Jews into the reality
of their situation in Nazi Germany . . . Tomorrow morning . . . they'll be running
for their lives out of the country ... A sharp, sudden shock . . . that is going to
make those who still delude themselves they can stay here in peace to face reality
. . . and . . .
GOOD 135
Music stops.
Keep out of it ... as much as possible . . . You can do fuck all about it. Tonight
. . . what can I do about it? All over the country they'll be marching against the
Jews. It's a bad thing. No question about it
But bad as it is, on Haider's "anxiety scale*' it ranks below his own death or
imprisonment or the possibility that Anne would leave him for another man.
Bok arrives bringing orders for Haider. Nobody cares much about the individ-
ual who was shot in Paris, Von Rath, it's the idea of a Jew shooting a German
that is going to trigger the major event that has caused everyone to stop work
to prepare themselves with torches and banners. Haider is ordered to "move into
action" at 3 p.m. He challenges Bok: would it really make him happy to live in
a world entirely without Jews? Bok replies that Hitler knew what he was talking
about, blaming the Jews for economic difficulties which are now being alleviated
as the Jews are being suppressed: "Herr Professor . . . You didn't like living in
a Jew Germany . . . Did you? Now . . . you walk about in the streets. And you
feel it . . . You know. This is our place now . . . Don't you? He's got us back our
own country "
Again, Haider tells himself that he has every reason to be happy (but his mother
intrudes on his thoughts; the Sister has reported that she climbs out of her bed
at night in an effort to find her way home).
Eichmann tells Haider that they want his "usual, clear objective reports" on
the general situation at the camps. Haider is concerned about an order to resettle
all Jews by the end of the year — he fears such a program will put too much of
a strain on Germany's resources, now that they are in a two-front war.
EICHMANN: Russia, we'll soon finish off. . . . .That'll be one front less ... In
any case . . . that's our orders.
HALDER: I was curious about the need for such urgency . . .
EICHMANN: Your point about fighting the war on so many fronts . . . All the
more reason to keep the enemy within under tight control . . . You can see that,
can't you? . . . From the question of security alone . . . You'll make the arrange-
ments, then . . . You'll need to base yourself in Berlin during your assignment
with me . . .
HALDER: I'll make arrangements . . . Yes . . .
EICHMANN: The leadership, of course, have ordered me that on no account are
you to cut yourself totally off from your university
With Anne, Haider is suffering qualms about Germany being turned into "one
great prison" and even considers the possibility of running away. Bok's visit has
left him in a state of panic and guilt. Anne reassures him (as she helps him on
with his SS uniform) that she loves him, and that he is involved only in a perfectly
legitimate police action, not to shoot Jews but to keep things under control. And
she adds, "In any case, for God's sake ... If I was Jewish I'd have got out of
here years back . . . The first year Hitler was in power . . . Any Jew with sense
is out by now. The ones that are left must be utterly stupid or desperate to hang
on to their property." Haider admires her logic, and Anne admires his looks in
136 THE BEST PLAYS OF 1982-1983
his uniform. Haider straps on his loaded revolver as Anne tells him, "No prisons
or yawning chasms in front of you."
Eichmann consults Haider about what to do with the sick and the diseased,
"the volume of Jews and antisocials flooding into the camps." Yes, the sick and
the highly infectiously diseased could be a problem, Haider admits, while Eich-
mann keeps adding the "antisocials" and the "unfit" to his roster of concern. The
order to deal with them has been issued. Eichmann wants Haider to go and look
over the possibihties in Silesia, consider them in his characteristic "human,
without sentimentality approach" and report back directly and secretly to Eich-
mann alone.
Haider's friend Maurice had disappeared many months before, but he comes
to Haider's thoughts during that night of violence, in the smoke of burning
buildings, to the musical accompaniment of the Frankfurt Jewish Choral Society
singing "Jesu Joy of Man's Desiring." Haider tries to tell Maurice that they have
oversimplified the situation with stock responses of victim vs. persecutor, and that
this "Jewish, moralistic, humanistic, Marxist total fuck up" is the fault of the
Jews. The Jews certainly bear its effects, Maurice agrees, of murder, mutilation
and rape. "No," Maurice concludes, "I take that back . . . most of them couldn't
rape a sparrow."
Maybe they're suff'ering a sort of national nervous breakdown, Haider decides.
The way things are going, people won't be inhabiting the planet much longer; it'll
be left to hardy plants which are managing to grow up through the cracks in the
concrete.
Anne helps Haider on with his greatcoat — he is bound on Eichmann's errand
for a place Anne has never heard of: Auschwitz, in Upper Silesia.
ANNE: Are you all right, now, love?
HALDER: I'm fine . . .
ANNE: John . . . Listen to me . . . Whatever happens round us . . . however
we get pushed ... I know we're good people . . . both of us . . . It just isn't what's
happened . . . You destroyed me . . . pulled me down ... It isn't . . . It's the other
way round . . . You've pulled me up . . . I've done the same for you . . . from
the first time we came together . . .
HALDER: Yes . . . We probably are . . . good . . . Yes . . . whatever that means.
ANNE: You know what it means.
HALDER: YeS.
ANNE: Remember it then.
HALDER (to audience): I got into Auschwitz early in the morning. It was an
ordinary dirty industrial town. Big station. Munition trains . . . Sparrows on the
platform poking at microscopic crumbs on the concrete. People going about their
work. Like a normal town. I was sitting on the platform, feeling insecure like I
always feel away from home . . . Absolutely longing for Anne and the children
... the comfort of her hand in mine. I'd taken out a book, while I was waiting
for a car from the camp to pick me up. A German translation of Don Quixote
... I could only read escapist literature like that in these days . . .
ANNE: Remember it, then. And remember that I love you. And you love me
. . . And we'll always love one another . . . Will you remember that . . .
GOOD 137
H ALDER (kissing her eyelids): V\\ remember that.
Up Schubert march.
(To audience.) When we arrived at the camp, Hoess, the commandant, was
waiting at the gate for me. (Hoess comes forward. To audience, as he shakes hands
with Hoess. ) Funny man . . . Poor soul . . . Something wrong with him. I was
trying to work out what exactly it was, all the time he was welcoming me
. . . He showed no emotion. That was it. Might have been some mental condition.
On the other hand, just stress . . . The poor bastard had a hell of a job ... he
did make a supreme effort and smiled. The funny thing was ... I could hear this
band. Playing a Schubert march. "Oh ..." I registered to myself. "We're having
Schubert, now" . . . Then I became aware that there was in fact a group of
prisoners . . . Maybe in my honor, Fm not sure . . . The important thing was
. . . the significant thing: the band was REAL.
Up band . . . Haider watching them.
. . . The band was REAL!
Up music. Curtain.
ooo
ooo
ooo
ooo
ooo
ooo CATS
A Musical in Two Acts
WORDS BY T.S. ELIOT
MUSIC BY ANDREW LLOYD WEBBER
ADDITIONAL LYRICS BY TREVOR NUNN
Cast and credits appear on page 340
THOMAS STEARNS (T.S) ELIOT (words), the Nobel Prize-winning poet, was
born in St. Louis, Mo. on Sept. 26, 1888 and died in London in January 1965.
During his world-renowned career he wrote a number of works for the theater, the
first of which was the verse drama Murder in the Cathedral which had the first
of many productions March 20, 1936 for 38 performances on Broadway. His The
Family Reunion appeared off Broadway in the 1947-48 season and on Broadway
Oct. 20, 1958 for 32 performances. His The Cocktail Party proved to be one of the
most important plays of the modern theater in Broadway production Jan. 21, 1950
for 409 performances, designated a Best Play of that season and winning the Critics
Award. His short Sweeney Agonistes appeared off Broadway on a program with
works by Pablo Picasso and Gertrude Stein in the 1951-52 season. Two years later,
again on Broadway, a new Eliot play. The Confidential Clerk, appeared Feb. 11,
1954 for 1 1 7 performances and was named a Best Play. Three decades later, not
a season goes by without revival of his plays and programs of excerpts from his
poetry in New York and regional theaters.
Eliot's slender volume of poems Old Possum's Book of Practical Cats C'Pos-
"Cats": based on Old Possum's Book of Practical Cats by T. S. Eliot. Excerpts from Old Possum's
Book of Practical Cats, copyright 1939 by T. S Eliot. Copyright renewed 1967 by Esme Valerie Eliot.
"Memory" incorporates lines from Collected Poems 1909-1962 by T. S. Eliot, copyright 1936 by
Harcourt Brace Jovanovich, Inc., Copyright © 1963, 1964 by T. S. Eliot, which are reprinted by
permission of the publisher. All inquiries should be addressed to: Permissions, Harcourt Brace
Jovanovich, Publishers, 757 Third Avenue, New York, N.Y. 10017.
138
CATS 139
sum'' was one of his nicknames among close friends) was published in October
1939. An off-off- Broadway version adapted by Jonathan Foster appeared at Soho
Rep in the spring of 1980. The full-scale musical created by Andrew Lloyd Webber
and Trevor Nunn from this material opened in London May 77, 7957 and then
was produced for Broadway October 7, 1982, Eliot's third Best Play.
ANDREW LLOYD WEBBER (music) was born in London, England March 22,
1948. He attended Westminster School as a Queen's Scholar and went on to
Magdalen College, Oxford and the Royal College of Music. His early work includes
a suite for his toy theater at age 9 and, in 1965, the as yet unproduced musical
The Likes of Us with lyrics by Tim Rice. The Webber-Rice collaboration flared
forth on an international scale with Joseph and the Amazing Technicolor Dream-
coat (1967, off Broadway 1976 and 1981, Broadway 1982 in Tony-nominated
revival), Jesus Christ Superstar (1970, Broadway 1971 with Tony-nominated
score) and Evita (1976, Broadway 1979 in Tony-winning production, with Tony-
winning book and score, and awarded the Drama Critics citation as best musical).
Other West End productions composed by Webber were Jeeves (1975, lyrics by
Alan Ayckbourn), Tell Me on a Sunday (lyrics by Don Black), Cats (1981) and
the current Song and Dance which includes material from his gold record album
entitled Variations. He is married, with two children.
TREVOR NUNN (additional lyrics) was the director as well as a co-author of Cats.
He was born in Ipswich, England, Jan. 14, 1940 and was educated at Cambridge,
where he directed a number of productions. In 1962 he won an ABC television
trainee director's scholarship to the Belgrade Theater Company in Coventry and
by 1963 became its resident director. In 1965 he joined the Royal Shakespeare
Company as an associate director, becoming its artistic director in 1968. He has
staged a number of its outstanding productions in Stratford and at the Aldwych
in London over the years, including last season's phenomenal The Life & Adven-
tures of Nicholas Nickleby and this year's Henry IV, Parts 1 and 2, which opened
RSC's new London home at the Barbican Theater, and All's Well That Ends Well,
which visited Broadway in the spring.
For Cats, Nunn added lyric material (in collaboration with Richard Stilgoe) to
the prologue ''Jellicle Songs for Jellicle Cats, " and he wrote the lyrics to the song
''Memory" based on Eliot poems. ''Eight lines have been added to the song of the
Jellicles," Nunn stated in a program note to the Broadway production and con-
tinued, "Some of our lyrics, notably 'The Marching Song of the Follicle Dogs' and
the story of Grizabella were discovered among the unpublished writings of Eliot.
The prologue is based on ideas and incorporates lines from another unpublished
poem entitled 'Follicle Dogs and Jellicle Cats.' Growltiger's aria is taken from an
Italian translation of Old Possum's Book of Practical Cats. 'Memory' includes
lines from and is suggested by 'Rhapsody on a Windy Night' and other poems of
the Prufrock period. All other words in the show are taken from the Collected
Foems. "
Cats is a unique theatrical concept which it would not be useful to synopsize in
the manner of most other Best Flays in these pages. Instead, we illustrate how the
140 THE BEST PLAYS OF 1982-1983
show interpreted visually T.S. Eliot's written imagery, with the excellent photos by
Martha Swope picturing each of the musical numbers, many of them captioned
with excerpts from the corresponding Eliot material which served as a lyric for that
number.
The photographs depict the succession of scenes in Cats as produced by Cameron
Mackintosh, The Really Useful Company, Ltd., David Geffen and The Shubert
Organization and as directed by Trevor Nunn, with Gillian Lynne serving as
associate director and choreographer, with scenery and costumes by John
Napier and lighting by David Hersey. Our special thanks are tendered to the
producers and their press representatives, Fred Nathan & Associates, Eileen
McMahon and Anne S. Abrams, for making available these selections from Martha
Swope's photographs of Cats.
CATS
PART ONE
"WHEN CATS ARE MADDENED BY THE MIDNIGHT DANCE'
Prologue: Jellicle Songs for Jellicle Cats — Company
Jellicle Cats come out tonight
Jellicle Cats come one come all
The Jellicle Moon is shining bright-
Jellicles come to the Jellicle ball
Jellicle Cats are black and white,
Jellicle Cats are rather small,
Jellicle Cats are merry and bright,
And pleasant to hear
when they caterwaul.
Jellicle Cats have cheerful faces.
Jellicle Cats have bright black eyes;
They like to practise their airs and graces
And wait for the Jellicle Moon to rise.
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Scene 1: The Naming of Cats — Company (above)
When you notice a Cat
in profound meditation,
The reason, I tell you,
is always the same:
His mind is engaged
in a rapt contemplation
Of the thought, of the thought,
of the thought of his name.
Scene 2: The Invitation to the
Jellicle Ball— Cynthia
Onrubia (right)
Scene 3: The Old Gumbie Cat — Anna McNeely (below, right)
All day she sits upon the stair or on the steps or on the mat:
She sits and sits and sits and sits — and that's what makes a Gumbie Cat!
But when the day's hustle and bustle is done,
Then the Gumbie Cat's work is but hardly begun.
And when all the family's in bed and asleep,
She slips down the stairs to the basement to creep.
She is deeply concerned with the ways of the mice —
Their behavior's not good and their manners not nice;
So when she has got them lined up on the matting,
She teaches them music, crocheting and tatting.
» tmT'
Scene 4: The Rum Turn Tugger — Terrence
V. Mann and Company (above)
Yes the Rum Turn Tugger
is a Curious Cat —
And there isn't any call for me to shout it:
For he will do
As he will do
And there's no doing anything about it!
Scene 5: Grizabella, the Glamour Cat —
Betty Buckley (right) as the
Tabby way past her prime
Scene 6: Bustopher Jones —
Stephen Hanen
He's the Cat we all greet
as he walks down the street
In his coat of fastidious black:
No commonplace mousers
have such well-cut trousers
Or such an impeccable back.
In the whole of St. James's
the smartest of names is
The name of
this Brummell of Cats;
And we're all of us proud to
be nodded or bowed to
By Bustopher Jones in white spats!
Scene 7: Mungojerrie and Rumpleteazer — Timothy Scott (below, center)
Mungojerrie and Rumpleteazer had a wonderful way of working together.
And some of the time you would say it was luck,
and some of the time you would say it was weather.
They would go through the house like a hurricane,
and no sober person could take his oath
Was it Mungojerrie — or Rumpleteazer? or could you have sworn
that it mightn't be both?
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Scene 8: Old Deuteronomy — Ken Page (center) and Company
Old Deuteronomy's lived a long time;
He's a Cat who has lived many lives in succession.
He was famous in proverb and famous in rhyme
A long while before Queen Victoria's accession.
Scene 9: The Awefull Battle of the Pekes and Pollicles together
with The Marching Songs of the Pollicle Dogs (above)
^\
Scene 10: The Jellicle Ball — Company
Scene 11: Memory — Betty Buckley (left)
Midnight, not a sound from the pavement.
Has the moon lost her memory?
She is smihng alone.
In the lamp light the withered leaves
collect at my feet
And the wind begins to moan.
Memory. All alone in the moonlight
I can smile at the old days.
I was beautiful then.
I remember the time
I knew what happiness was,
Let the memory live again
Daylight. I must wait for the sunrise
I must think of a new life
And I mustn't give in.
When the dawn comes
tonight will be a memory, too
And a new day will begin
Touch me. It's so easy to leave me
All alone with the memory
Of my days in the sun.
If you touch me you'll understand
what happiness is.
Look, a new day has begun.
PART TWO
''WHY WILL THE SUMMER DAY DELAY— WHEN WILL TIME FLOW AWAY'
Scene 12: The Moments of Happiness — Ken Page (at top, left) and Company
m
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Scene 13: Gus: The Theater Cat — Stephen Hanan with Bonnie Simmons (above)
He isn't the Cat that he was in his prime;
Though his name was quite famous, he says, in its time. . . .
For he once was a star of the highest degree —
He has acted with Irving, he's acted with Tree.
And he hkes to relate his success on the Halls,
Where the Gallery once gave him seven cat-calls.
Scene 14 (left, on opposite page): ''Growltiger's Last Stand'' — Stephen
Hanan (center, as Gus the Theater Cat playing ''Growltiger,''
a seafarer ambushed by a horde of Siamese) and Company
Growltiger had no eye or ear for aught but Griddlebone,
And the Lady seemed enraptured by his manly baritone.
Disposed to relaxation, and awaiting no surprise —
But the moonlight shone reflected from a hundred bright blue eyes.
Scene 15: Skimbleshanks (below, right)
You may say that by and large
it is Skimble who's in charge
Of the Sleeping Car Express.
From the driver and the guards
to the bagmen playing cards
He will supervise them all,
more or less
You can play no pranks
with Skimbleshanks!
He's a Cat that cannot be ignored;
So nothing goes wrong
on the Northern Mail
When Skimbleshanks is aboard.
Scene 16: Macavity — Kenneth Ard and Harry Groener (below)
Macavity, Macavity,
there's no one like Macavity,
There never was a Cat of such
deceitfulness and suavity.
He always has an alibi,
and one or two to spare:
At whatever time
the deed took place —
MACAVITY WASN'T THERE!
Scene 17: Mr. Mistojfelees —
Timothy Scott (right)
At prestidigitation
And at legerdemain
He'll defy examination
And deceive you again.
The greatest magicians
have something to learn
From Mr. Mistoffelees'
Conjuring Turn
And not so long ago
this phenomenal Cat
Produced seven kittens
right out of a hat!
Scenes 18 & 19: Memory (Reprise) and The Journey to the Heaviside Layer
(below) in which Old Deuteronomy (Ken Page, arms raised)
transports Grizabella over the rainbow to magical rebirth
Scene 20: The Ad-dressing of Cats — Company
With Cats, some say, one rule is true:
Don't speak till you are spoken to.
Myself, I do not hold with that —
I say, you should ad-dress a Cat,
But always keep in mind that he
Resents familiarity.
I bow, and taking off my hat,
Address him in this form: O CAT!
ooo
ooo
ooo
ooo
ooo
ooo ANGELS FALL
A Play in Two Acts
BY LANFORD WILSON
Cast and credits appear on page 349 & 386
LANFORD WILSON was born in Lebanon, Mo. April 13, 1937 and was raised
in Ozark, Mo. He was educated at San Diego State College and the University of
Chicago, where he started writing plays. Arriving in New York in 1963, he gravi-
tated to the Caffe Cino, one of the first of the off-off- Broadway situations. He
made his New York playwriting debut there with So Long at the Fair, followed
by Home Free and The Madness of Lady Bright, which latter claims an OOB
long-run record of 250 performances. In 1965 his first full-length play, Balm in
Gilead, was produced at Cafe La Mama and directed by Marshall W. Mason,
who has figured importantly in Wilson's later career. That same year the prolific
author's Ludlow Fair and This Is the Rill Speaking were presented at Caffe
Cino.
Wilson's off-Broadway debut took place with the appearance of Home Free on
a New Playwrights Series program for 23 performances at the Cherry Lane Thea-
ter in February 1965. Ludlow Fair and The Madness of Lady Bright appeared
off Broadway and in London in 1966. The Rimers of Eldritch (a development of
This Is the Rill Speaking) won its author a Vernon Rice Award off Broadway in
1967. In 1968 his Wandering was part of the off-Broadway program Collision
Course, and he tried out an untitled work with Al Carmines at Judson Poets'
Theater.
In 1969 Wilson moved uptown to Broadway for the first time with the short-lived
but favorably-remembered The Gingham Dog, following its production a year
"Angels Fall": by Lanford Wilson. Copyright © 1983 by Lanford Wilson. Reprint^ by permission
of Hill and Wang, a division of Farrar, Straus and Giroux, Inc. See caution notice on copyright
page. All inquiries concerning amateur production rights should be addressed to: Dramatists Play
Service, Inc., 440 Park Avenue South, New York, N.Y. 10016. All inquiries concerning other rights
should be addressed to the author's representative: Bridget Aschenberg, International Creative Man-
agement, 40 West 57th Street, New York, N.Y. 10019.
153
154 THE BEST PLAYS OF 1982-1983
earlier at the Washington, B.C. Theater Club. Almost equally short-lived but even
more favorably received (in subsequent productions) was his Lemon Sky (1970).
The following year he wrote the libretto for Lee Hoiby's opera version of Tennessee
Williams's Summer and Smoke, which premiered in St. Paul, Minn, and was
presented by New York City Opera in 1972. He also collaborated with Williams
on the film script The Migrants, which was produced by CBS and won an Emmy
nomination and a Christopher Award.
Wilson was a founding member of Marshall W. Mason's Circle Theater (now
Circle Repertory Company) and is one of its 21 playwrights-in-residence. His
scripts produced at this home base have included Sextet (Yes) in 1971 and The
Great Nebula in Orion, The Family Continues and Ikke, Ikke, Nye, Nye, Nye
during the 1972 season. They were directed by Mason, as was Wilson's The Hot 1
Baltimore, which premiered OOB at the Circle Jan. 27, 1973, moved to an off-
Broadway theater March 22, 1973 where it ran for 1,166 performances (a new
record for an American straight play), was named a Best Play of its season, won
the Critics (best American play), Obie and Outer Circle Awards and was adapted
into a TV series.
In 1975, Wilson's The Mound Builders was produced at the Circle under
Mason's direction, won an Obie and was filmed for the Theater in America series
on WNET-TV. In the season of 1975-76, the well-established group crossed the
boundary between OOB and off Broadway; and Wilson's Serenading Louie was
produced therefor 33 performances, becoming its author's second Best Play (it had
been written between Lemon Sky and The Hot 1 Baltimore and was rewritten for
this production).
In 1977-78, the Circle produced Wilson's one-acter Brontosaurus as well as his
third Best Play, the full-length The 5th of July, which opened its 1 59-performance
run April 27, 1978. In it, a member of the Talley family. Aunt Sally, is visiting
the Talley homestead in Missouri in order to inter her late husband's ashes. The
second play in Wilson's Missouri trilogy, Talley's Folly, concerned itself with the
courtship of Aunt Sally and her Matt on a July 4 evening 33 years before the events
of The 5th of July. Talley's Folly opened at the Circle under Mason's direction
May 1, 1979 and played 44 performances before moving uptown to Broadway Feb.
20, 1980 for 277 more performances, winning Wilson's third Best Play citation, plus
the Pulitzer Prize and the Critics Award for best-ofbests.
The first play of the trilogy was then remounted for Broadway in November 1980
as Fifth of July, playing 239 performances, and the third, A Tale Told, appeared
at the Circle June 11, 1981 for 30 performances. This season, Wilson returned to
matters other than the Talley family with his fourth Best Play, Angels Fall, which
opened under Mason's direction at the Circle Oct. 1 7 for 65 performances and then
moved to Broadway Jan. 22 for 64 more performances.
Wilson has been the recipient of the Brandeis University Creative Arts Award,
the Institute of Arts and Letters Award, plus Rockefeller, Guggenheim and ABC
Yale fellowships. He is a bachelor and lives in Sag Harbor, N. Y.
The following synopsis of Angels Fall was prepared by Sally Dixon Wiener.
Barnard Hughes as Father Wilham Doherty and Fritz
Weaver as Niles Harris in Lanford Wilson's Angels Fall
156 THE BEST PLAYS OF 1982-1983
Time: A late Saturday afternoon in June
Place: A mission in northwest New Mexico
ACT I
SYNOPSIS: In the interior of a simple adobe church, the altar, with its faded blue
and yellow paint, is upstage; and upstage left, to one side of the altar, is a door
to the living quarters. There is a Madonna painting, primitive, on a barrel top,
and backless wooden benches. Stage right are the front doors that lead to a sandy
parking lot and a pay telephone. A bell hangs just outside the front doors. Stage
left, opposite the front doors, are doors leading to a sandy garden. Strong sunlight
penetrates the dark coolness of the church from deep-set narrow windows.
Sitting alone staring at the wall is Don Tabaha, ''mid-20s, half-Indian, intense. "
He gets up and exits through the door into the residence area. We hear voices
offstage of people coming toward the front doors from the parking area. Relieved
to find the doors not locked, Niles and Vita Harris enter, and the light coming
through the doorway illuminates the church. Niles is ''56, an art historian and
professor. He is tall, elegant, and disheveled.'' Vita is "30, his wife, thin and
strikingly attractive. "
Vita suggests Niles sit down while she goes off to see if the telephone is working.
He is anxious to get back on the road.
Niles moves to the window, looks out after her. He takes a
prescription bottle from his pocket, has difficulty opening it, peers into
the bottle, dumps the only pill onto his hand.
NILES: Sanctuary.
He looks into the empty bottle, carefully breaks the pill in half, and
returns half to the bottle.
Well, half a sanctuary.
He looks around the church. There is water in the font; he decides
against that and moves to the garden doors. As they open, the interior
grows lighter. Niles sees what he is looking for and goes out the door.
The church is empty for a moment.
VITA (entering): Niles? Are you all right?
NILES: (offstage): Just a minute.
VITA (notices the pill bottle, picks it up, smiling at the half pill; calling): Where
have you got to? (Puts the bottle in her purse. )
NILES (offstage): I found a water faucet I'm sure hasn't been opened in twenty
years. I'll die of typhoid, but I'll die refreshed. (He re-enters, wiping his face with
a damp handkerchief. ) I must have half of New Mexico on my face.
VITA: You were beginning to look a httle like a cinnamon doughnut, yes.
NILES: Sixty miles on a dirt road with nothing to look at except sagebrush,
only to be turned back by the highway patrol and have to look at the same sage-
ANGELS FALL 157
brush all over again from the other side. You told Dr. Singer we'll be a day late?
VITA: He's in a meeting. His secretary has gone to the bank.
NILES: At twelve hundred dollars a day per shrunken head, you'd think
Singer's institute would own the bank by now.
vita: I left the number of the pay phone out there.
NILES: Darling, I'm not going to stand in a church in the middle of the
wilderness waiting for some secretary to return our call.
VITA: If we don't hear in ten minutes, I'll try again. (Niles notices the pill bottle
is gone. ) I've got it.
NILES: Good. I may need it. (Looks at his watch. ) We'll give her five
minutes . . .
Niles, as they wait, is preoccupied with how it will be in Phoenix for Vita,
"hving down the road from the asylum," but admits that he will be appreciative
of her being nearby. Don comes back onstage and gives them a very cold recep-
tion. Vita explains that they just stopped to use the telephone. Don says the phone
is only for medical emergencies. He continues to rebuif her efforts to be friendly,
until an offstage voice distracts him and he goes out to the parking lot, where
"a motorcycle starts up and drives off. " Vita concludes that the Honda was the
inhospitable young man's.
The voice offstage was that of Marion Clay, ''early 40s, a gallery owner, hand-
some, well turned out'' and she enters now, complaining mightily to her compan-
ion Salvatore (Zappy) Zappala, "27, almost skinny, quite energetic, a professional
tennis player, " who is standing in the doorway. The newcomers greet Niles and
Vita and explain that they're trying to make a plane. Marion, with change, heads
for the phone and sends Zap back for her purse. "What do you suppose is the
nature of that relationship?" Vita asks Niles, as they realize the telephone is tied
up for now.
While Niles is wondering if he dares smoke. Father William Doherty, ''65, the
parish priest, " enters from the garden. " 'And the road was a ribbon of moonlight,
over the purple moor' " he is quoting to himself, when he sees Niles and Vita —
"Oh, dear goodness." He jumps to the conclusion that he is late for an appoint-
ment with them. Assured that he is wrong, he's convinced he's forgotten some
other reason why they would be there, and Vita explains they are waiting for a
telephone call. Doherty assumes they are lost. Vita says they were turned back
at the fork, that there's a bridge out.
DOHERTY: No, no, no, no. There couldn't be a bridge out. There's no bridge.
I've never heard of the road being impassable in June. We'll be in for the light
rains soon, if they come; the "she-rains" they call them, isn't that lovely? There's
no bridge out. It's some problem with the nuclear thing again. The radio was
saying something about it. I never listen, but it's good company when you're
driving along. I'm not really so rushed, I'm just like this. I'll learn to relax one
day. (Singsong. ) Learn to relax, learn to relax. Now. Maybe I can interest you
in the fifty-cent tour.
NILES: Some problem with the nuclear thing again?
DOHERTY: There usually is, and they usually say something coy like the bridge
158 THE BEST PLAYS OF 1982-1983
is out. We don't pay much attention any more. Don didn't come through here,
did he? Short, dark, surly . . . ?
VITA: In and out.
DOHERTY: In from where and out to where?
VITA: In from there and out on a Honda in a cloud of dust.
DOHERTY (sitting): Oh, no. Oh, dear.
VITA: Is there something wrong?
DOHERTY (gets up, goes out the front door; pleasantly): Yes, of course, anything
you hke.
NILES: He's not really rushed, he's just hke that.
VITA: You are going to be nice.
NILES: I am not. I have every intention of being inordinately difficult.
Father Doherty enters again, ho-ho-ho-ing to himself about Don, who is down
at the intersection having an argument with the highway patrolman. Doherty
off-handedly tells the others the "nuclear thing" is nothing to get alarmed about.
He rambles on about "a wonderful fright three years ago" — radioactive clouds,
but apparently no one thought they were worth evacuating. The next day, men
in jeeps with bleepers, shouting above the sound: "No problem. Nothing to be
alarmed about. Minor levels, minor levels." Pressed by Niles about these emer-
gencies, Doherty says they're attempting to install a dump to the south of the
mission; to the west are about seven mines and mills; to the east the Rio Puerco
is awash with some kind of waste periodically; and there is the Los Alamos
reactor, the White Sands missile base, and things seeping into the water: ". . . All
the Perils of Pauline, but I just get into trouble every time I say anything about
it. We aren't supposed to notice ..." He explains that the phone outside is the
only public one in the village, so it sometimes becomes "the hot corner."
Zap and Marion re-enter. They can't get through to anybody on the phone —
the airport, the highway patrol or the weather station. All busy. But on the car
radio they've heard that something happened when a plane was being loaded at
the Chin Rock Mine — no cause for alarm, but traffic's been stopped for a hundred
miles as a precaution. Marion tells Zap to stay inside, that there's no point in him
wearing himself out. He has a tennis match tomorrow in San Diego.
''The noise of a helicopter approaches, growing deafeningly loud. " It is flying
very low and is announcing with loud speakers that the roads are closed and to
please stay indoors. The last time they said that, Marion remembers, traffic was
rerouted for four days around the area. Zap, who has gone out to get a thermos
and his zinc pill, reports that the radio says it was not a plane crash, it was a truck.
Meanwhile, Doherty has another parish problem to deal with — Mrs. Valdez
has stopped eating: "Says she's going to die . . . She said she'd hved to be ninety,
and that's all she'd planned on."
MARION: What are you doing here? I didn't expect to see you.
DOHERTY: I've changed my schedule. Our little genius is running away. You've
settled the estate?
MARION: What with the sale and the transfer of the paintings, I've signed my
name in the last two days more than most rock stars.
ANGELS FALL 159
DOHERTY: Are you all right? You're not, of course, neither am L I have to ask,
and you have to say "Lm fine."
MARION: I'm fine.
DOHERTY: As bad as that?
MARION: I'm fine.
DOHERTY (looking out the door): He's turned around. The little ingrate. Those
choppers must have done the trick. He's coming back. Not a word.
VITA: It looks as if we're detained for a few minutes. Is it all right if we wait
here?
DOHERTY: Oh, yes. Maria will be very happy. Happy, happy. She always makes
refreshments when she sees a car stop, so we'll have a little treat. She loves people,
but she's terrified of them. Wouldn't go near one. But this sort of thing makes
her day.
MARION: Lucky for her that it happens all the time.
DOHERTY: Marion can tell you. No alarm, no alarm.
Doherty goes into the residence. Vita says that she's going to bring in the
hamper because Niles hasn't eaten a bite. He hasn't been hungry, he doesn't know
why. Zap, with a thermos in one hand and his pill in the other, complains that
he can't take a pill with gin: 'This ain't cocoa" — it's a thermos of martinis. He's
a little weird about pills; the way he grew up, a pill was taken with one full glass
of water. Marion's laughter makes him remark to her that sportswriters all over
the country every day "eat me for breakfast; I don't need it from my old lady,
you know?" "Old lady" is too close to home to suit her. He finally takes the pill
with a drink from the martini thermos and goes out to garden. He's a total child,
Marion says, but a good tennis player who could use better luck on the first-round
draw.
Don Tabaha comes back in, wondering what Marion knows about the situa-
tion. He can't get Chin Rock on the phone. The telephone rings; it's for Vita, and
Don doesn't want her to tie up the line. While Vita goes to the phone it comes
out in the conversation that Niles is a teacher on a sabbatical during which he
was planning to write his next book but will now "conform to the ancient Israelite
sabbatical in which every seventh year the field was left untilled." He tells Marion
that his field was art history. "And art history sells," she says. She knows. She
owns the Clay Gallery in Chicago. She is Marion Branch, the famous artist Ernest
Branch's widow.
Vita comes back in carrying a picnic basket. Niles wants to know about the
call from Phoenix — it was from the secretary, and the doctor will call Niles back
(he says he will not speak with the doctor; Vita says she will). Doherty is backing
in with a tray of lemonade and sugar, apparently trying to get Maria to make an
appearance, which she won't. Doherty tells Don not to look so surprised to see
him, he rearranged his schedule to see Don off. Don didn't see Doherty's car
because Doherty parked it around back. "Aren't I cunning?" he asks Don. He
is aware that Don has packed his knapsack and has his motorbike working again
"for his getaway."
Doherty passes the glasses of lemonade around, suggesting that maybe they
should drink to Don's "newfound fortune." Don says to skip it, and Doherty
160 THE BEST PLAYS OF 1982-1983
changes it to "new found opportunity." Don says if he didn't know better, he'd
think Doherty had arranged the roadblock. Marion wonders if Maria has the
newspaper — the draw was this morning for the tennis matches — and Don volun-
teers to get it. While Don is offstage, Doherty explains that he is Maria's nephew,
that his mother abandoned him, father unknown, and that the church has been
his playroom. Don always wanted to be a doctor. He went to medical school, on
full scholarship and is interning now. The big city has worked its wiles, but
Doherty is sure "we can set him straight."
Vita, urging Niles not to pace about, grows concerned about him and feels his
forehead. It's burning up, she says, and he admits that he's perspiring heavily.
To Marion's question as to when he will go back to the college, he answers that
he's burned his bridges and won't be going back. He's experienced a crisis of faith,
a "disturbance in my willful suspension of disbelief that allowed me to see what
I had done for what it was." He made the mistake of rereading his books; and
to every didactic, authoritative sentence he had written he could say, "Yes, of
course, and exactly the opposite could be as true." He asked himself what he'd
been doing for 30 years and suspected he'd been bought, or worse.
VITA: Three weeks before the term final, he burst into his classroom —
NILES: Certainly not. I walked majestically and deliberately to my desk and did
not sit down.
VITA: And announced to his class that the course was useless.
NILES: I said it was something akin to buffalo chips.
VITA: — took his three published books from his briefcase and ripped them in
half.
NILES: And flung them in the air. I was exalted. The Imagination of Ancient
Greece. (Rips in half.) There! to The Imagination of Ancient Greece. I know
nothing about it, and neither does anyone else. Oh, it was wonderful.
VITA: And in his exaltation he had mislaid his glasses, so on his way to class
he drove the car straight across the iris bed at the entrance to the college.
NILES: I was fired with the message of truth.
VITA: And coming back he drove the shortest route to the street, which was
directly across the badminton court.
NILES: Nolo contendere.
As a result of this, some of the reactionary students' parents are suing the
college. (Vita says that her class would have applauded enthusiastically. It seems
she was an A-minus student who had the nerve to come to him to complain about
the minus; that's how they met.) Niles was completely exonerated by his col-
leagues, but the Board of Governors "was not quite so obliging". It was sick
behavior, Niles acknowledges. Doherty is concerned that Niles experienced a
disturbance in his willful suspension of disbelief. Doherty says he thinks this
would be very troubling. Niles agrees, but says better now "than on . . . say
. . . one's deathbed."
Don enters with the newspaper and goes out again. Marion mentions that Ernie
painted Don. It's the only picture she's sure she's going to keep. Don pretended
to hate Ernest, but didn't really, and that's what Ernie painted. "The smugness,
ANGELS FALL 161
the fear, the belligerence, the uncertainty, the superiority, the distrust of the
painter, the love. All staring right out at you."
Zap is wearing earphones, listening to the radio report of the catastrophe.
When Don comes back and asks Zap what's going on, he tells Don a man has
already died, an Indian, but they won't release the name until the family is
notified.
ZAP: What's yellow cake?
DOHERTY: Where was this?
ZAP: Up at the Chin Rock Mine. It's a mess. This truck was supposed to be
being loaded and instead it backed up over the containers and they busted, and
the wind blew all this yellow cake stuff all over the guys that were loading it.
Those helicopters were coming to take the guys who are still alive to the hospital
in Los Alamos.
MARION: Up from White Sands. Wouldn't you know they'd get into the act.
VITA: Yellow cake is pure uranium, refined at the mill. That's from my protest-
ing days.
ZAP: How far away is that Chin Rock Mine?
DOHERTY: Twenty miles? Thirty miles?
MARION: Twenty miles as the buzzard flies.
ZAP: What really gripes you, though — what they're saying is, anybody not in
the immediate area won't get sick for about twelve years.
DOHERTY: Minor levels, minor levels.
NILES: Don't panic the populus.
ZAP: You get the picture, twelve years from now you're walking down the
street, you're feeling great, all of a sudden you're a spot on the sidewalk.
Pause. They look to Doherty, who has his fingers pressed to his forehead,
his eyes closed. His lips are moving. He prays silently. After a moment
he crosses himself looks up, smiles. Vita moves to a window, looking
out.
VITA: I keep envisioning us all being slowly covered with Chin Rock ash. Like
the people of Pompeii. A thousand years from now this will be an archaeological
site with markers saying: This is a professor, this is his wife, this is a hopeful tennis
player, with his rackets.
ZAP: Come on.
DOHERTY: No, no, it sounds very minor. We're not that close. People all over
the country are going to be terribly disappointed. They'd rather have a big gaudy
cataclysm. They've been preparing themselves for years.
VITA: Look at it. It looks so clean and immutable.
DOHERTY: No, no, quite mutable. Mute, mute, mute. Those solid-looking
mountains, if you tried to climb them, would mute right out from under your foot.
In spite of this, Vita envies anyone who owns a place here. You love it or hate
it, Marion tells her. She's sold their place. She couldn't hack it — rattlesnakes,
scorpions. But she did spend a month here in the summer and a month in the
winter.
"They'd have to blast me out," Doherty says. They sent him all the way from
162 THE BEST PLAYS OF 1982-1983
Worcester, Mass., but they'd have to drag him away. He misses Ernie, however,
he misses their Sunday afternoons when they would steal an hour under Maria's
arbor out back. "He'd drink wine and I'd drink tea, and we both got drunk,"
Doherty reminisces. "I miss all that. I don't sit there any more Sunday
afternoons."
Marion puts the paper aside, saying there's nothing in it, of course, and she's
going to call San Diego and get the information about the tennis draw over the
phone. When she exits. Zap tells Doherty it wasn't easy on Marion coming back
here. He says he'll ask her to marry him again. "I ask her every coupla days. She
always gets a good laugh outta that."
Vita asks Don when he's going to finish his internship, but Doherty says Don
has decided he doesn't want to be a doctor any more, so he doesn't have to finish.
Don tells Vita that Dr. Lindermann has asked him to join his cancer research
team at Berkeley. The last year or so he's been interested in gene structure, protein
production, cellular experiments. Don seems to understand the complicated ma-
chinery and equipment that's involved better than some people. Marion, having
come back, remarks that she thought he had turned the offer down, but Doherty
says that was a previous offer from a lab in Pittsburgh. Doherty describes Dr.
Lindermann, a charismatic person interviewed on television, now returning, after
three months at the college, to his research, trying to take his brightest star with
him with an offer of a high salary and a glamor job.
DON (very angry): If I were interested in being glamorous and making money,
I could stay right here and be glamorous as hell and rake it in by the kilo. What
do you think, Marion? Maybe I should hang up my shingle as the half-breed
podiatrist. All those seven-foot Texans in Santa Fe walking around in their pointy
boots. Their toes must be killing them.
MARION: Mine too, but I'm not sure I'd put my feet in your hands.
DOHERTY: Neither would they.
DON: And with this sun they'll need a dermatologist.
DOHERTY (to Don)\ Tell us about the respiratory disease among the Navaho
mine workers.
DON: And a handsome young endocrinologist could make a killing.
DOHERTY {rather heated): Talk to us about the rate of birth defects on the
reservation.
DON: And there's a pretty penny here for a proctologist.
DOHERTY: I've never seen a pretty penny.
DON: And the entire desert is weeping for an anaesthesiologist. I know I am.
DOHERTY: I know I am.
MARION: Wasn't that fun. Only now you're both hyperventilating.
DON: Not me.
VITA: Why would there be a higher rate of birth defects on the reservation than
there would be in the rest of the area?
MARION: They hve right in the middle of the uranium mines.
DOHERTY: Most of the men work there.
DON {still quite angry): Congenital anomalies, lung cancer, tuberculosis,
chromosomal aberrations, sperm morphological distortion — begins to get scary,
doesn't it?
ANGELS FALL 163
VITA: I can see why Father Doherty doesn't want to lose you.
DON: I'm just getting started, honey. Kidney disease, glaucoma, and there's no
time for one person in a hundred years to begin to correct a millennium of genetic
neglect.
VITA: So you just wave goodbye to it.
DON: In abject humiliation, yes.
VITA: You think that's all just romantic folly now?
DON: No, darhn', I think that is a deep and abiding tragedy.
Niles get into a discussion with Don and takes umbrage when Don repeatedly
calls him "Doctor" instead of "Professor." Niles is not himself, and whoever he
is, he seems to be losing control. Marion suggests a Valium, but Vita thinks Dr.
Singer doesn't believe in tranquillizers. Singer's name clears it all up for Don:
Niles is on his way to a sanatarium to be shock-treated or warm-bathed. Niles
explains that he's only going to Singer's because the Board of Governors of the
college thinks it will mollify the parents if they can say that he's had a complete
collapse. He's humoring them, but he admits that, since the arrangement was
made, he's been preparing himself by becoming a basket case.
Doherty points out that Niles is running away, and Don is running away too.
Don says he isn't, but that he thinks it's commendable of Niles to be taking a
tour through the real world on the way to Singer's and hopes he learns a lot. Most
of Singer's patrons fly from penthouses to the padded cells without touching
down. Niles begs to differ — the real world has come slouching into his room
hourly for 30 years, and he would expect youth today to see the way things are
more clearly.
VITA: Don't get upset.
NILES: I am not upset. I am strident and overbearing.
VITA: And a touch irrational —
NILES: This young person is justifiably sickened by the effete performance of
professors of my ilk —
VITA: No one is quite like you, I'm sure.
NILES: Oh, let us hope. No, people are snowflakes; there's none quite like any.
I'm sure there is no comparison to the deprivation you have lived with and are
running from, but the fact is that the ivory tower is a bloody shambles. How can
you be in school and not know that? The fact of the graceless routine of my life
in academe is being awakened at three in the morning, called to the village morgue
to identify the mutilated and alcohol-sodden corpse of the victim of a car crash.
The fact is — let go of me — is having the brightest light of my fraudulent teaching
career quench itself by jumping off* the bridge into the bay because in your
enlightened age of sexual permissiveness, he was afraid he was sexually deviant.
(Mumbles. ) Ivory tower . . . There have been, in fact, seven suicides in the past
ten years; in fact, one third of my class each year, and of yours, I'm sure, if you
had bothered to look around you, burn themselves out on drugs and overwork
and exposure to the pressures of academic life, and are unable to return, probably
to their everlasting benefit, if they knew it. Dear God, how can anyone with eyes
(Vita touches his arm) — stop that, please — think that we are out of touch with
the real world. If that's the real world, I beg to plead very familiar with the real
164 THE BEST PLAYS OF 1982-1983
world, thank you. The calumny, Lord! (Vita takes hold of his arm. ) Stop touching
me, please! What are you trying to do? Make it better? It will not be better, thank
you! I won't embarrass you again. You won't have to endure that again. I wish
in God's name the door to this building weren't so heavy, so I could slam it.
(He strides out the front door. )
VITA: Niles, don't go out there! I'd better — well, I'd better not, is what I'd
better. He'll walk around. He's been getting very — lately — irrational. (To Don.)
Still, it was unnecessary for you to goad him like that. He's unwell physically as
well as — I'm sorry.
The helicopters are overhead again, and Doherty assumes they are taking the
injured mine workers to the hospital. He's sure the racket must be frightening
Maria, who is also frightened of the telephone, though she did call him this
morning to say that he must come at once, that '*our doctor is running away."
Again Doherty takes a dig at Don about Dr. Lindermann, and Don exits to the
parking lot, but not to his bike. Doherty throws some keys to Zap and says to
hide them and not to tell Doherty where. Zap exits to the garden, while Marion
tells Doherty he should be ashamed. Doherty says he isn't — "Not a bit." Vita
admits that she's at the end of her tether, but, no, she doesn't want to talk to
Doherty. Marion exits to call San Diego again. Doherty goes off into the resi-
dence.
Vita folds Niles's jacket, holding it on her arm. She turns to the front
door, to the garden. A second helicopter goes over, higher, the sound
farther away. She looks up and then slowly turns to look at the altar.
She stands facing the altar, her back to us. Curtain.
ACT II
A half hour later. Father Doherty is kneeling at the altar. Zap, on the floor,
is listening to his headset. When Vita comes in, from the garden, Doherty rises.
''He might speak a little less brightly in this act. " Zap reports that Interstate 40
is now definitely moving, everything under control, and what he's listening to is
the Moody Blues. "They're good company, very cheering," Doherty says of the
Moody Blues. "I hear all those in the car," as he drives to his missions 30 or 40
miles apart.
Vita looks out and sees Don Tabaha sitting on his bike, head down, looking
into the dust, looking like the painting "End of the Trail." "Tabaha" means "by
the river" in Navaho, Doherty tells Vita. Doherty has been listening to Zap's
headset and says that the miner who died at Chin Rock was 23 and his wife is
eight months pregnant. Four others are ill. Occupational hazard is what they're
calling it.
VITA: What time is Mass?
DOHERTY: Eight.
VITA: If we're still here, I'd like to see the service.
DOHERTY: No, no, nothing to see. I'm afraid there isn't anything to watch. Not
In background, Nancy Snyder, Brian Tarantina, Tanya Berezin and Danton Stone
with (foreground) Fritz Weaver and Barnard Hughes in a scene from Angels Fall
even picturesque, I don't imagine. Twelve, fifteen stoic Navahos shuffle in, kneel,
I mumble sincerely, and they shuffle out. Nothing to see. Nothing on their faces,
probably nothing on mine. In and out. Shuffle — shuffle.
VITA: It must mean something to them, though. And to you.
DOHERTY: Oh, it's what we live for, but there's nothing to see. You're welcome
to stay, but you'll be on the road. They'll get all this cleared up, they'll have a
good cover-up story by tomorrow. Bad publicity for the mines if they don't, and
the mines are already complaining that the price of uranium has dropped thirty
percent in the last ten years. Must be the only price that has. No, you'll be on
the road. On the trail by then. Living your life.
Marion comes in. She called for a plane, and it will be ready when she and Zap
are. She's broken every nail showing Indian carpenters how to crate paintings.
The pots are going to a museum in Albuquerque, the furniture was sold with the
166 THE BEST PLAYS OF 1982-1983
buildings. The women agree that moving, breaking up households, is hard. Mar-
ion expected it to be morbid, looking over the paintings, readying them for a
retrospective, but it was very exciting. The show is going to be important, she tells
Vita, not at her gallery, but at the Art Institute of Chicago.
MARION: He always wanted that. The bastards had to wait for him to
kick off before they gave it to him.
VITA: I imagine he knew it would happen eventually.
MARION: On good days. Then go from Chicago to Denver, then Los Angeles,
Dallas, probably not New York. Maybe a few other places. They're all designated
for different museums after that. That'll be the hard part, seeing the collection
broken up. But it's what he wanted.
She is trying not to cry.
VITA: I'll have to see it.
MARION: Try to catch it.
Moving to the window.
The radio said soon, you said? I think the professor has cooled down a bit. Looks
hke he might be wandering this way.
VITA: Good. Did Zappy know him?
MARION: Ernie? Yeah. They got along. Ernie was working rather furiously the
last few years. He felt better if I had a project. They got along. It's been good
for me, it was good for Ernie. Maybe it hasn't been completely fair to Zappy. He
gets a little confused. Father Doherty thinks we should "sanctify our relation-
ship" now. I think not. I'll be there 'til he needs something else. So we do learn
from our — Zappy, are you hearing this?
ZAP: Sure.
MARION: I forgot you were there, creep.
ZAP: Yeah, I got that problem. You ready to hit the road?
MARION: Soon as it's open.
ZAP: You are getting so weepy, you know? The last week you can't talk about
me, you can't talk about Ernie, she can't talk about tumbleweed without the
faucet. Yesterday she was crying over the damn sunset.
MARION: Shut up.
ZAP: I can't wait to get you out of here. Get you bossing everybody around
again.
Niles enters, full of apologies. When Don enters, Niles tells him his attack was
nothing personal. Don claims that Father Doherty stirs everybody up with his
"Don't you think, Don?" and "Wouldn't you agree. Professor?" He adds that it
is interesting to see someone freak out for a change.
Niles has never felt so twitchy, and besides knowing he's exposing himself to
terminal radiation poisoning, he thinks huge ants and spiders are going to come up
over the hill. Doherty tells Niles, in answer to Niles's apologies, that he was struck
by what Niles did because teachers with concern are rare. "By your age," he says to
Niles, "too many teachers have become cynical. Teachers and preachers."
Don saw a lot of that, Doherty elaborates. He was at the top of his class — one
of the chosen. "Many are called but only two are chosen:" Dr. Indian Don and
ANGELS FALL 167
Dr. Alice, a bright young woman intern. Don has to be in Santa Fe tonight to
meet the Great Man and the woman intern, then the three of them are off to San
Francisco.
All this is none of Doherty's business, Don insists, and he storms out only to
re-enter to ask about the keys for his bike. He's sure Doherty knows where they
are, but Doherty says he doesn't know exactly where they are. Don says he is not
going to do what Doherty thinks he should, but Doherty has every confidence
Don will do what Don thinks he should.
Marion enters with a memo pad. She's got Zap's whole schedule. He plays at
eleven in the morning. Zap pauses and tells Marion she better read it to him, and
then he asks to see her note.
ZAP: "Zappala-Evans, Baley-Syse, Bouton-Tryne, Carey-Luff." I can take
Evans in straight sets — 6-1, 6-1 if he lucks out. Baley-Syse is like a matching from
the tadpole pool. Tryne gets mad, Carey is a fairy, and Luff — with all due respect
to my fellow players. Luff is a cream puff. Evans, Baley, Syse, Bouton, Tryne,
Carey, Luff. Woooo! Son-of-a Woooo! I mean, I don't want to disparage true
professionals who will, I'm sure, play up to their ability and with great heart, but
this is a hst of the seven most candy-ass tennis players I've ever seen. This is the
Skeeter League. If I couldn't make the final eight in a — Where's Rose? Where's
Charley Tick is the question. They got all those guys together on the other leg?
What kind of a lopsided draw — Tryne does not possess a serve. None. Carey is,
in all humility, probably the worst professional sportsman I've ever seen. What
Paul Carey most needs is vocational guidance. Syse I have personally beaten four
times without him winning one game. 6-zip, 6-zip Zap! You candy-asses. Woooo!
I gotta walk, I gotta walk. You charter the plane?
Exits.
MARION: He's waiting on the runway.
NiLES: Is it really that easy a field?
MARION: Luff could be a problem, but I don't think so. It's so much luckier
than any draw he's had — nothing's sure, but it's very fair.
Enormous yell offstage. Everybody gets up, looks out.
No, it's just Zappy. He's okay. What do you know. What do you know. Son-of-a-
gun.
Zap comes back in, furious now: "Is that what they think of me?" Okay, he
says, he must not get overconfident and not get a big head. His biggest problem
is to not fall asleep facing Charley Baley across the net.
Don wants to know if Zap has his bike keys. Zap says he doesn't (but he doesn't
mind lying like a priest would). Don moves toward Zap, but Zap dodges him and
exits.
Doherty begins goading Don again. He doesn't know why Don should think
any of them are opposed to his success: "Could you see a motive for anything
but rejoicing. Professor?" Niles admits he doesn't see the point in badgering the
boy, that it's his decision.
Don wants to know how Doherty found out about the research opportunity.
Doherty admits that Dr. Lindermann called him for a reference. Doherty was
168 THE BEST PLAYS OF 1982-1983
surprised to discover Don had visited there: "Your Great Man said he'd been
impressed with the way you presented yourself. Thought you'd be useful eventu-
ally in an administrative position." Doherty can see Don now making a grant
proposal. Don says it's the best-endowed place in the country, that Doherty
doesn't know anything about it.
Niles, who is holding his hand up to his head, argues with Doherty that it isn't
up to them to judge what is right, but Doherty holds that teachers and preachers
are here to elucidate matters. Vita is worried about Niles again, but he says it's
probably too much sun, and he's anxious to get under way. He wants Vita to pack
up their things and put them in the car. Vita takes the car keys from him. He
mumbles and is supporting himself against the wall, then gets himself onto the
bench.
Medically concerned, Don inquires whether Niles has been eating. Vita admits
that he hasn't been hungry (no, he doesn't have diabetes as far as she knows).
They have stretched Niles out flat, and Don assures himself that Niles can feel
and move his arms and legs. He tells Marion to put a lot of sugar in a glass of
lemonade. Don doesn't know what's the matter, but Niles's pulse is "exceeding
the speed limit," and Don makes Niles drink the lemonade. Niles is in-and-out
of it, but expresses confidence in Don, though he doesn't know why. Don's
opinion is that any of about ten things could be the matter. He asks Vita if Niles's
flying off" the handle is usual. She replies in the negative. The not eating is not
usual, either. Even though he hasn't been going to doctors, he's been careful of
his health.
"Until he made his dramatic denouncement to his class?" Doherty asks, and
Vita says yes. Doherty surmises that must have surprised Vita. She saw his point,
though, and they were in agreement that it was the only thing he could do.
Doherty wonders what their plans are after Dr. Singer's. She doesn't know if they
have any.
Don checks — Niles's pulse is down some. Niles hopes his condition has nothing
to do with radiation poisoning. Don thinks it could be the heat, a slight stroke,
stress, nerves, a hypoglycemic attack. The last Niles resents, it's too much "the
thing to have." Don tells him it's not fun if you do, but there's no way to know
without tests. Niles feels like an imbecile, coming apart at the seams, everything
coming unglued all at once.
Niles finishes a second lemonade, and Don urges a third on him. It's amazing
stuff", Niles concedes, but won't concede that his histrionics are due to low blood
sugar. More complicated than that, Don replies. He gives Niles a note scribbled
on a pad to take to Singer's. Doherty expounds on the subject of what Niles calls
his "ivory tower."
DOHERTY: You experienced a — what did you call it? I liked that so much.
You experienced a disturbance in your willful suspension of disbelief Wonder-
fully articulate, those poets. It took me fifteen minutes to figure out what that
could possibly mean. All those negatives. Disbelief. What a thing to require. But
disbelief is rampant nowadays. People are running about disbelieving all over the
place. But a willful suspension of disbelief is believing, isn't it? So a disturbance
in one's willful suspension of disbelief is right in my wheelhouse.
ANGELS FALL 169
NILES: Oh, dear.
DON: Comes with the territory.
NILES: When I started teaching I was a renegade, beHeved nothing, investigated
everything. And subtly over thirty years I became absolutely dogmatic. This is
true, that is false. A is better than B. B is superior to C Look for A about you.
Anyone today not able to accomplish A is no kind of artist at all. All very neat
and formulated. And they copy it in their workbooks slavishly They don't
even realize they're being brainwashed. They don't care. The thing they most
often ask is, "Is this going to be on the test?" Once in a thousand students,
someone says, "How do you know that?" "Why, good Lord, man, when you've
looked at the art of the Renaissance for as long as I have, with utterly blind eyes,
you'll know that too."
DOHERTY: So you blew the whistle on yourself; took yourself right out of the
game.
NILES: The sporting move when I discovered I was useless.
DOHERTY: Then, like a silly, you stopped eating and made yourself sick. You
threw it all away and looked up and saw yourself standing at a crossroads, and
you looked down the wrong road at the wrong future and you saw nothing, of
course, there's nothing down that road. But you can't do nothing, man. You have
a young wife, the possibility of a family, I would think. What manner of person
ought we to be? I'm afraid I'm not going to be able to refrain from preaching a
little sermon tonight. The only good thing that can come from these silly emer-
gencies, these rehearsals for the end of the world, is that it makes us get our act
together.
Niles tells Doherty that he isn't in any state to follow him to the end of the
world. As Doherty looks through the Bible he's taken from the altar, he remarks
that he would not have been able to resist saying "And I quit" when he stormed
out of the classroom in a rage. Niles still has that to look forward to, but Doherty
points out that he could go back for the next term. Niles can't, the one thing he's
sure of is that teaching is harmful. Doherty remarks that anyone as clever as Niles
could teach "Heresy 101 like St. Peter meeting the early Christians in the
catacombs outside Rome."
NILES: If there was a way to survey my subject without comment, without
comparisons. "This is a painting. What does it say to you? There will be no test,
make friends where you like." Oh, dear. Given today's students, begging for
structure, half the class would have breakdowns within a week.
DOHERTY (with a Bible): Ah ha!
vita: What?
DOHERTY: This is the end of the world. (Reading.) "The day of the Lord will
come as a thief in the night; in which the heavens shall pass away with a great
noise, and the elements shall melt with fervent heat. The earth also and the works
that are therein shall be burned up. Seeing then that all these things shall be
dissolved, what manner of persons ought ye to be in all holy conversation and
godliness?" It seems appropriate tonight to remind ourselves of that. And you are
a teacher. So you simply have to find a way to teach. One of those professions,
170 THE BEST PLAYS OF 1982-1983
Fve always thought, one is called to. As an artist is called, or as a priest is called,
or as a doctor is called.
Zappy relates to this — that "call," the magic that happens when you know who
you are, like a doctor or a teacher; hke Marion (she demurs) who told him she
wanted to show artists' work; Hke when he found out he was a tennis player and
went to church and lit a candle. Giving thanks for the Hght, Doherty comments.
ZAP: Really. I said my novenas, man, 'cause it had been like a — not a miracle
that anyone would know except just me — but it had been like when those girls
saw Our Lady of Fatima up on that hill. It was really weird. I was like in the
fifth grade and I was watching these two hamburgers on some practise court, and
they took a break and one of them hands me his racket. So I threw up a toss like
I'd seen them do and zap! Three inches over the net, two inches inside the line.
There wasn't nobody over there, but that was an ace, man So this guy
shows me a backhand grip and he hits one to me and zap! You mother! Backhand!
Right down the line. And the thing is, that's where I wanted it. I saw the ball
come at me, and I said I'm gonna backhand this sucker right down the line, and
I did But that was it. I hit that first ball and I said, "This is me. This is
what I do. What I do is tennis." And once you know, then there's no way out.
You've been showed something. Even if it's just tennis, you can't turn around and
say you wasn't showed that. So I went to church and said a novena for those
meatballs, 'cause they didn't know all the butterflies that was in my stomach, that
they'd been my angels. But, man, on the way home, anybody had asked me what
I did, right there I'd have said, "I play tennis." Didn't know love from lob, didn't
matter. That's what I am. 'Cause once you know what you are, the rest is just
work.
The helicopters are overhead again, and the loud speakers are blaring — the
road is clear. They've given us "our monthly dose of fear" Doherty says, shaming
them. The microphones blare again that the road is clear. Doherty has gone out
and yelled at them; he gets so angry. "Look at how foolish I am," he says, coming
back inside and dusting olf his shirt. He claims that they worship energy and that
things have regressed back to the days of the cavemen who were astonished by
fire.
An astronomer said to him on a radio show that the universe had started with
a Big Bang, and Doherty had told him that he knew who pushed the button. It
was a local talk panel, he tells Marion, and his superiors aren't happy about his
being on it. They'd send him someplace else, but there's no place left. Not that
he'd go, anyway. Someone must stay, he insists, or "the vultures will pick the
Indians clean." The Indians have inadequate medical facilities, and Don's depar-
ture will mean they will have even less help.
Niles notes that Doherty is drifting back to the subject of Don again. Doherty
says that Niles left the college because he thought he'd been bought, and he's sure
to recognize the purchase of someone else. Don has been a doctor since he was
five years old, Doherty goes on, and the need of the Indians is something Niles
can't comprehend. But Niles doesn't believe need is the question.
ANGELS FALL 171
DOHERTY (to Don): Weren't you called to be a physician? Didn't you kneel here
at this altar with me and pray after you told me you had been called to help your
people?
DON: I was eleven years old.
DOHERTY: Have you been called now to alter your course?
DON: Shut up, Father.
DOHERTY: Have you, have you? Did you hear a voice saying to you: "Leave
your people and leave your land and go with this great television personality?"
Did you?
DON: I discovered I have a very special talent for research; if that's hearing a
call, then I've been called.
DOHERTY: No, you just decided you can't turn down this opportunity for a
better personal life You know what manner of person you ought to be.
DON: You are tearing me apart!
NILES (to Doherty): You don't care a damn what he does for him.
VITA: What do you care?
DOHERTY: Your brightest star jumped in/the bay. What would you have done
if you had the chance? This is my brightest star. Ten seconds from now he'll be
in midair over the water. What would you do?
NILES: You cannot hold power over another man; even for his own good. This
is your foster child. You see your reflection in him. I've seen it with teachers a
dozen times. I've done it myself.
VITA: Not now.
NILES: You want that for you. You may be right as rain, but you're doing it
for yourself. I don't know if that's Christian, but it's certainly not kosher.
Doherty goes to the window and looks out of it for a moment. There are tears
in his eyes when he turns back and admits that, if it matters, Niles is right. He
was thinking of himself. The helicopters said the road is clear, but he believes they
were more truthful when they said the bridge was out.
Vita reminds Zap he has a plane to catch. She thanks Doherty — a good friend
to all. Doherty acknowledges this by saying that he takes more than he gives.
In the midst of the parting remarks. Zap asks Doherty if he would bless him,
not so that he will win, but so he won't fall over his feet and make Marion look
foolish. Doherty does so. After Zap (not forgetting to give Don his motorcycle
keys) and Marion leave, Doherty confesses that he cheated and said "Make him
win."
Doherty pauses to remark on the fact that somebody is pumping water outside.
It's Mrs. Valdez, the old woman who wouldn't eat. She's changed her mind
because Doherty made a pact with her granddaughter, who is pretending to be
deathly ill, so that Mrs. Valdez got up to care for her.
Vita comments on how beautiful it is here. Niles says he can imagine living here
as well as he can imagine living anywhere, but Doherty says Niles is going to get
a good rest and then go back to work and raise Cain. Like Peter outside the gates
of Rome who was crucified upside down, Niles remarks. "But in a good cause,"
Doherty says.
Doherty remembers that he asked Vita to stay on for Mass and that she
172 THE BEST PLAYS OF 1982-1983
accepted. It was her idea, Vita says, but she thinks she's forgotten the responses.
Doherty believes they'll come back, like riding a bicycle. He'll be speaking
Navaho, the congregation will reply in Navaho, and a little broken Latin will
work in. He goes into the residence and returns with the Mass kit.
Doherty spreads the two cloths on the table that serves as an altar. Vita
and Niles look at Don a moment, then exit into garden. Doherty sets
out two little vials — wine and holy oil, then two candlesticks and two
candles.
DON {after a long pause): I'm glad I saw you.
DOHERTY (sets out two goblcts and covers one): Me, too. Don By-the-River.
DON: Tabaha.
DOHERTY (sets up cross): No, no, By-the-River. Don By-the-River. Like the
song. (Sings lightly. ) "Don-by-the-riverside." Dr. Don. I've been too fond, young
man. Too fond.
DON: Me, too. Father.
DOHERTY: Yes, yes . . . well . . . (He goes to the altar, lighting the two candles.)
Don is crying. He looks around the church, picks up his duffel bag, and
leaves. Doherty turns from the altar and moves to the window. The
motorcycle starts up. The sound fades away. Doherty turns back, look-
ing to the altar. After a moment he checks his watch and walks slowly
outside and begins ringing the bell to call the congregation to Mass as
the lights fade. Curtain.
ooo
ooo
ooo
ooo
ooo
ooo PLENTY
A Play in Two Acts
BY DAVID HARE
Cast and credits appear on page 348 & 388
DAVID HARE was born at St. Leonards in Sussex, England on June 5, 1947
and was educated at school there and at Lancing College and then for three years
at Cambridge. He has been writing plays since the age of 22. His first full-length
work, Slag, was produced in London at the Royal Court before appearing in his
American debut production at New York Shakespeare Festival Public Theater,
first in an experimental staging at the Other Stage and finally as a full-fledged
off-Broadway offering at the Florence S. Anspacher Theater February 21, 1971
for 37 performances, at which time its author received an Obie nomination for
most promising playwright. The list of Hare's plays produced on this side of the
Atlantic includes Knuckle as a Phoenix Theater Side Show in 1975 and off off
Broadway at the Hudson Guild in 1981; Fanshen in Milwaukee Repertory
March 18, 1976 and in other regional productions and off off Broadway in 1977;
and Teeth 'n' Smiles at Folger Theater Group in Washington, D.C October 17,
1977.
Hare's first Best Play, Plenty, was produced in 1978 by the National Theater
in London prior to its American premiere at the Arena stage in Washington, D.C.
April 4, 1980 and subsequent staging in March 1981 at the Goodman Theater in
Chicago. Its New York debut took place October 21, 1982 off Broadway at New
York Shakespeare Festival for 45 performances, after which it was moved by Joseph
Papp to Broadway for an extended run of 92 performances and was named the
season's best foreign play by the New York Drama Critics Circle.
"Plenty" by David Hare. Copyright © 1978 by David Hare. Reprinted by permission of The New
American Library, Inc. See caution notice on copyright page. All inquiries concerning amateur
production rights should be addressed to: Samuel French, Inc., 25 West 45th Street, New York, N.Y.
10036. All other inquiries should be addressed to: The New American Library, Inc., 1633 Broadway,
New York, N.Y. 10019.
173
174 THE BEST PLAYS OF 1982-1983
The newest Hare play, A Map of the World, was presented in London by the
National Theater this season under its author's direction (and Hare has directed
other new scripts at both the National and the Royal Court). His TV films have
included Licking Hitler, Dreams of Living and the forthcoming Saigon, about the
final days of the U.S. presence in Vietnam. His works have been honored in his own
country by the Evening Standard Drama Award, the John Llewellyn Rhys Prize
and the British Acadeny of Films and Television Arts Award for the best play of
the year. He lives in London, near Notting Hill Gate.
The following synopsis of Plenty was prepared by Jeffrey Sweet.
Time: Various times from 1943 to 1962
Place: France, Brussels and various locations in England
ACT I
Scene 1
SYNOPSIS: The time is Easter 1962. The spacious room of a house in Knights-
bridge has been methodically stripped bare of its fancy furnishings. As Susan
Traherne's husband, Raymond Brock, lies on the floor sleeping off the effects of
nembutal, scotch and a fight with her the night before, Susan, a ''well presented'^
woman in her mid-30s, finishes telling her ''slightly younger'' friend Alice Park
what she needs to know in order to take over the house. Susan is giving Alice
the house to be used as a home for unwed mothers. Having finished the instruc-
tions, Susan exits, leaving Alice with the task of having to explain to Brock (when
he regains consciousness) that his wife has walked out on him, taking with her
nothing that is his.
Scene 2
A British agent, codenamed Lazar, parachutes into the darkness of occupied
France in November 1943 and is met by Susan, in this scene in her late teens.
She has been waiting for a drop of supplies. Because of an emergency, Lazar has
taken advantage of her signal and has landed some 80 miles off course. Susan gives
him tips on how to avoid being picked up. She has been in the field a year, and
the sustained fear has taken its toll on her.
The expected supplies are now dropped. From out of the shadows, a French
resistance fighter tries to grab them, but Susan intercepts him. They quarrel in
French over the supplies until Lazar chases the Frenchman away with a gun.
"Bloody Gaulhsts," says Lazar, '*I mean what do they have for brains?"
'They just expect the British to die. They sit and watch us spitting blood in
the streets," is Susan's bitter response. And then her attempt at self-possession
cracks. She's not even an agent, she tells him, just a courier. She came out for
this drop because nobody else of her circuit is left. The wireless operator she
Edward Herrmann and Kate Nelligan in a scene from Plenty
176 THE BEST PLAYS OF 1982-1983
worked with was caught by the Gestapo and taken to Buchenwald. She embraces
Lazar, crying, "I don't want to die. I don't want to die like that."
Lazar comforts her as best he can. Having calmed her, he helps her collect the
supplies. As they disappear into the night, she realizes she doesn't know the real
name of the man she has just embraced.
Scene 3
The time is June 1947, and we are in the Brussels office of Sir Leonard Darwin,
the British ambassador. Darwin, in his late 40s, is working behind his desk as the
third secretary, Brock (in his late 20s) enters to tell him that a Mrs. Radley is
waiting to see him. Her British husband has died during their holiday together,
and she has come by for assistance from the embassy. "It should be quite easy,"
says Brock, "she's taking it well." And now Brock ushers in Susan.
With Susan's encouragement. Brock describes the macabre details of the em-
balming process. Brock's black humor does not sit well with Darwin, who takes
the earliest opportunity to leave to attend to the details of flying the body back
to England.
Alone now with Susan, Brock cheerfully acknowledges his contempt for Dar-
win's Blimpishness and his own disappointment at not having a more interesting
assignment. Susan in turn acknowledges that she was not married to the late Mr.
Radley, a fact which doesn't take Brock by surprise. She further explains that she
and Tony Radley had worked together behind the lines in France. He recently
had called out of the blue to suggest a holiday together, and, even though she
hadn't known him well, she had accepted the invitation because of the bond of
experience between them.
SUSAN: Those of us who went through this kind of war, I think we do
have something in common. It's a kind of impatience, we're rather intolerant, we
don't suffer fools. And so we get rather restless back in England, the people who
stayed behind seem childish and a little silly. I think that's why Tony needed to
get away. If you haven't suffered . . . well. And so driving through Europe with
Tony I knew that at least I'd be able to act as I pleased for a while. That's all.
(Pause. ) It's kind of you not to have told the ambassador.
BROCK: Perhaps I will. (He smiles. ) May I ask a question?
SUSAN: Yes.
BROCK: If you're not his wife, did he have one?
SUSAN: Yes She believes that Tony was travelling alone. He'd told her
he needed two weeks by himself. That's what I was hoping you could do for me.
BROCK: Ah.
SUSAN: Phone her. I've written the number down. I'm afraid I did it before I
came.
Susan opens her handbag and hands across a card. Brock takes it.
BROCK: And lie?
SUSAN: Yes. I'd prefer it if you lied. But it's up to you.
She looks at Brock. He makes a nervous half-laugh.
All right doesn't matter . . .
PLENTY 177
BROCK: That's not what I said.
SUSAN: Please, it doesn't matter.
Pause.
BROCK: When did you choose me?
SUSAN: What?
BROCK: For the job. You didn't choose Darwin.
SUSAN: I might have done.
Pause.
BROCK: You don't think it's just a little bit previous — coming in here and
asking me to lie. Of course I know it must mean nothing to you. This smart club
of people you belong to who had a very bad war . . .
SUSAN: All right.
BROCK: I mean I know it must have put you on a different level from the rest
of us . . .
SUSAN: You won't shame me, you know. There's no point.
Pause.
It was an innocent relationship. That doesn't mean unphysical. Unphysical isn't
innocent. Unphysical in my view is repressed. It just means there was no guilt.
I wasn't particularly fond of Tony, he was rather slow-moving and egg-stained,
if you know what I mean, but we'd known some sorrow together and I came with
him. And so it seemed a shocking injustice when he fell in the lobby, unjust for
him of course, but also unjust for me, alone, a long way from home, and worst
of all for his wife, bitterly unfair if she had to have the news from me. Unfair for
life. And so I approached the embassy.
Pause.
Obviously I shouldn't even have mentioned the war. Tony used to say don't talk
about it. He had a dread of being trapped in small rooms with large Jewish
women. I know exactly what he meant. I should have just come here this evening
and sat with my legs apart, pretended to be a scarlet woman, then at least you
would have been able to place me. It makes no difference. Lie or don't lie. It's
a matter of indifference.
Brock gets up and moves uncertainly around the room. Susan stays
where she is.
BROCK: Would you . . . perhaps I could ask you to dinner? Just so we could
talk . . .
SUSAN: No. I refuse to tell you anything now. If I told you anything about
myself you would just think I was pleading, that I was trying to get round you.
So I tell you nothing. I just say look at me — don't creep round the furniture —
look at me and make a judgement.
Darwin returns with the news that all is arranged. Brock leaves and, for a brief
moment, Darwin opens up a bit. He was previously posted in Djakarta. Now, here
in Brussels, he sees the work as a challenge. "Marvellous time to be alive in
Europe," he says. "No end of it. Roads to be built. People to be educated. Land
to be tilled. Lots to get on with The diplomat's eye is the clearest in the
world. Seen from Djakarta, this continent looks so old, so beautiful. We don't
realize what we have in our hands."
178 THE BEST PLAYS OF 1982-1983
Brock returns with a summons for Darwin from Mrs. Darwin for dinner.
Darwin leaves "Mrs. Radley" to Brock's charge. Alone again, Brock tells her that
he's decided to go along with her on the lie.
Scene 4
Late at night in a small flat in Pimlico in September 1947, Brock has fallen
asleep in his suit. Susan's friend Alice (18 in this scene) is on the floor smoking
a hookah. She tells Susan that she's making a systematic tour of degradation so
as to have material for a novel. The idea of getting a job in an office has no appeal.
"How are you going to live?" Susan asks. "Off" you mostly," Alice replies with
a smile.
Susan speaks wryly of the work she barely tolerates in the office of an import-
export firm, and of a Mr. Mendlicott's sexual overtures. "Alice, I must get out
I'd like to change everything but I don't know how." So saying, she ''starts
to oil and clean her gun. "
Alice suggests that Susan drop Brock for somebody younger. Alice has a
number of candidates. "I'm sure," says Susan. "I've only known you three weeks,
but I've got the idea. Your flair for agonized young men. I think you get them
in bulk from the tuberculosis wards ..."
Brock wakes. He's not feeling terribly well. Susan goes off" to make him some-
thing to eat. Alice remarks on Brock's habit of bringing parcels over for Susan
when he makes his quick trips from Brussels.
BROCK: I certainly try to bring a gift if I can.
ALICE: You must have lots of money.
BROCK: Well, I suppose. I find it immoderately easy to acquire. I seem to have
a sort of mathematical gift. The stock exchange. Money sticks to my fingers, I
find. I triple my income. What can I do?
ALICE: It must be very tiresome.
BROCK: Oh . . . I'm acclimatizing you know. (Smiles. ) I think everyone's going
to be rich very soon. Once we've got over the eff"ects of the war. It's going to be
coming out of everyone's ears.
ALICE: Is that what you think?
BROCK: I'm absolutely sure. (Pause.) I do enjoy these weekends, you know.
Susan leads such an interesting life. Books. Conversation. People Hke you. The
Foreign Office can make you feel pretty isolated, also, to be honest, makes you
feel pretty small, as if you're living on sufferance, you can imagine . . .
ALICE: Yes.
BROCK: Till I met Susan. The very day I met her, she showed me you must
always do what you want. If you want something you must get it. I think that's
a wonderful way to hve don't you?
ALICE: I do
As Susan returns, Alice complains about the quahty of dope. Susan jokingly
suggests that Brock might be posted to Morocco and bring back good stuff" in the
diplomatic pouch. Susan goes on to observe that those she has met in the diplo-
PLENTY 179
matic corps would probably be too dim to notice. Over Brock's protests, she tells
Alice some of the rude things Brock has said about Darwin. Sensing his irritation,
Susan reminds him that it was he himself who called Darwin a buffoon, a joke.
"He's a joke between us," Brock replies sternly. "He's not a joke to the entire
world." At Susan's suggestion, Alice goes to another room.
Brock is not too happy with the idea of Alice living with Susan. "I like her,"
Susan replies. "She makes me laugh." End of topic. A moment's quiet, and Brock
tries to repair the damage.
BROCK: I'm sorry, I was awful, I apologize. But the work I do is not entirely
contemptible. Of course our people are dull, they're stuffy, they're death. But
what other world do I have?
Pause.
SUSAN: I think of France more than I tell you. I was seventeen and I was
thrown into the war. I often think of it.
BROCK: I'm sure.
SUSAN: The most unlikely people. People I met only for an hour or two.
Astonishing kindness. Bravery. The fact you could meet someone for an hour or
two and see the very best of them and then move on. Can you understand?
Pause. Brock does not move.
For instance, there was a man in France. His code name was Lazar. I'd been there
a year, I suppose, and one night I had to see him on his way. He just dropped
out of the sky. An agent. He was lost. I was trying to be blase, trying to be tough,
all the usual stuff — and then suddenly I began to cry. Onto the shoulder of a man
I'd never met before. But not a day goes by without my wondering where he
is
BROCK: Susan.
SUSAN: I think we should try a winter apart. I really do. I think it's all a bit
easy this way. These weekends. Nothing is tested. I think a test would be good.
And what better test than a winter apart?
BROCK: A winter together.
Pause. They smile.
SUSAN: I would love to come to Brussels, you know that. I would love to come
if it weren't for my job. But the shipping office is very important to me. I do find
it fulfilling. And I just couldn't let Mr. Mendlicott down.
Pause.
You must say what you think.
Brock looks at Susan hard, then shrugs and smiles.
I know you've been dreading the winter crossings, high seas . . .
BROCK: Don't patronize me, Susan.
SUSAN: Anyway, perhaps it would be really nice to meet in the spring . . .
BROCK: Please don't insult my intelligence. I know you better than you think.
I recognize the signs. When you talk lovingly about the war . . . some deception
usually follows.
Brock kisses Susan.
Goodbye.
180 THE BEST PLAYS OF 1982-1983
Brock leaves. Alice returns to the room. As she and Susan prepare to go to
sleep, they talk idly of prospects for amusement. Finally Alice quotes Brock on
his belief that they will all be rich. "Oh really?" says Susan. "Peace and plenty,"
Alice responds.
Scene 5
Susan has asked Mick, a young man in his 30s, to meet her here on the
Embankment across from where fireworks will be shot off as part of the May
1951 Festival of Britain. Susan works for the Festival now. She knows Mick
slightly, both through his job as a food utensils supplier and as a casual friend
of Alice. As they munch on the food she's lifted from the Festival's opening
night dinner, she tells him why she wanted to see him: she wants him to father
a child for her.
He's flattered, but he wonders why she doesn't look for someone from her
own circles. She explains that she doesn't want to marry any of the people she
knows.
SUSAN: I'm afraid I'm rather strong-minded as you know, and so with them
I usually feel I'm holding myself in for fear of literally blowing them out the room.
They are kind, they are able, but I don't see . . . why I should have to compromise,
why I should have to make some sad and decorous marriage just to have a child.
I don't see why any woman should have to do that.
MICK: But you don't have to marry . . .
SUSAN: Ah well . . .
MICK: Just go off with them.
SUSAN: But that's really the problem. These same men, these kind and likeable
men, they do have another side to their nature and that is that they are very
hmited in their ideas, they are frightened of the unknown, they want a quiet life
where sex is either sport or duty but absolutely nothing in between, and they
simply would not agree to sleep with me if they knew it was a child I was after.
MICK: But you wouldn't have to tell them . . .
SUSAN: I did think that. But then I thought it would be dishonest. And so I
had the idea of asking a person whom I barely knew.
Pause.
MICK: What about the kid?
SUSAN: What?
MICK: Doesn't sound a very good deal. Never to see his dad . . .
SUSAN: It's not . . .
MICK: I take it that is what you mean.
SUSAN: I think it's what I mean.
MICK: Well?
SUSAN: The child will manage.
MICK: How do you know?
SUSAN: Being a bastard won't always be so bad . . .
MICK: I wouldn't bet on it.
SUSAN: England can't be like this forever.
PLENTY 181
Mick wants to know how he happened to be elected. She explains that it's the
very fact that they don't live near each other and that, because of class differences,
they would be unlikely to encounter each other much afterwards that makes him
attractive for her purposes. Also, she rather likes him.
He says that this arrangement can't be what she really wants. No, she replies,
"Deep down I'd do the whole damn thing by myself. But there we are. You're
second best."
He agrees to her proposition, at the same time making a side-deal with her on
some cheese graters for the Festival, and they stay to watch the fireworks.
Something about this sky reminds her of the sky in France. Mick, of course,
doesn't understand the reference.
Scene 6
We're back in the bed-sitting room we saw in Scene 4. It's been transformed
for Susan and Alice's work purposes. At the moment, Alice is painting a design
onto the naked body of a young girl named Louise. The design is an entry for
an artists' party later that night which will usher in the new year — 1953. Mean-
while, Susan is agonizing over the advertising job she does well and finds repel-
lent. Alice wryly talks about the social disease she (Alice) choses to believe she's
gotten as a gift once removed from the wife of a man she's been seeing.
Mick appears at the door. Louise excuses herself from the room to dress,
leaving Mick alone with Susan and Alice. Susan is furious. He's gone back on
their promise not to meet again. Susan angrily explains to Alice that for 18
months she and Mick met in attempts to make her pregnant. The attempts failed
and, having reached the "point of decency at which the experiment should stop,"
Susan indeed called an end to what might technically be called their relationship.
Mick complains that he feels he has been used. Susan replies that the experience
has been no kind of pleasure for her, and in fact she's given up her plan, saying,
"the whole exploit has broken my heart."
Mick asks if she thinks it's his fault. Susan tells him the whole object of her
plan was never to have to go through this kind of scene. Now, she really must
attend to the wretched advertising copy she's working on.
But Mick won't leave. He accuses Susan and Alice of being "cruel and danger-
ous." "You fuck people up," he tells Susan. "This little tart and her string of
married men, all fucked up, all fucking ruined by this tart. And you . . . and
you . . ."
Susan leaves the room and returns with her revolver which she fires over his
head, "//e falls to the ground. She fires three more times. "
Scene 7
An evening in October 1956, the spacious Knightsbridge room from Scene 1
is fully furnished, being the residence of the Brocks. At rise, Brock and a Burmese
gentleman named Aung, both dressed in dinner jackets, are engaged in after-
dinner conversation. They are joined by Sir Leonard Darwin, who was Brock's
superior in Scene 3. Darwin has missed the dinner but has come by because "there
seemed nothing left to do." After introducing Darwin to Aung, Brock goes to tell
182 THE BEST PLAYS OF 1982-1983
Susan of Darwin's arrival. Alone, Darwin shows good grace as Aung is almost
offensively obsequious.
Susan now bursts into the room followed by her husband. Radiating forced
cheer, she tells Darwin that he has found a haven in their house. She assures him
nobody will breathe a word of the diplomatic catastrophe called Suez in his
presence. She is quite deliberate in making this point several times. She herds
Aung out of the room so that Brock and Darwin may speak alone.
During the next sequence, we get caught up on the intervening years. Brock
married Susan after she suffered a breakdown. He is trying "to help her back up."
Darwin assures Brock that having a wife who's a bit potty can actually be an asset
in diplomatic circles. Darwin shudders when he hears that Madame Aung is in
the house, too. He's never met her, but he knows the type — the cultural preten-
sions of such women are particularly grating. Darwin confesses he's near the end
of his rope regarding his diplomatic career. "One more Aung and I throw in the
can." And now Suez does indeed come up.
DARWIN: We have been betrayed. We claim to be intervening as a neutral
party in a dispute between Israel and Egypt. Last Monday the Israelis launched
their attack. On Tuesday we issued our ultimatum saying both sides must with-
draw to either side of the Canal. But Raymond, the Israelis, the aggressors, they
were nowhere near the Canal. They'd have had to advance a hundred miles to
make the retreat.
BROCK: Who told you that?
DARWIN: Last week the Foreign Secretary went abroad. I was not briefed. We
believe he met with the French and the Israelis, urged the Israelis to attack. I
believe our ultimatum was written in France last week, hence the mistake in the
wording. The Israelis had reckoned to reach the Canal, but met with unexpect-
edly heavy resistance. I think the entire war is a fraud cooked up by the British
as an excuse for seizing the Canal. And we, we who have to execute this policy,
even we were not told.
Pause.
BROCK: Well . . . what difference does it make?
DARWIN: My dear boy.
BROCK: I mean it . . .
DARWIN: Raymond.
BROCK: It makes no difference.
DARWIN: I was lied to.
BROCK: Yes but you were against it from the start.
DARWIN: I . . .
BROCK: Oh come on, we all were, the Foreign Office hated the operation from
the first mention so what difference does it make now . . .
DARWIN: All the difference in the world.
BROCK: None at all.
DARWIN: The government lied to me.
BROCK: If the policy was wrong, if it was wrong to begin with . . .
DARWIN: They are not in good faith.
BROCK: I see, I see, so what you're saying is, the British may do anything.
PLENTY 183
doesn't matter how murderous, doesn't matter how silly, just so long as we do
it in good faith.
DARWIN: Yes. I would have defended it, I wouldn't have minded how damn
stupid it was. I would have defended it had it been honestly done. But this time
we are cowboys, and when the English are the cowboys, then in truth I fear for
the future of the globe.
A pause. Danvin walks to the curtained window and stares out. Brock,
left sitting, doesn't turn as he speaks.
BROCK: Eden is weak. For years he has been weak. For years people have
taunted him, why aren't you strong? Like Churchill? He goes round, begins to
think "I must find somebody to be strong on." He finds Nasser. Now he'll show
them. He does it to impress. He does it badly. No one is impressed.
Darwin turns to look at Brock.
Mostly what we do is what we think people expect of us. Mostly it's wrong.
Susan, Alice, Aung and Madame Aung enter the room., Madame Aung talking
about the wonderful new film by that Norwegian director, Ingmar Bergman.
Susan jabs away at Darwin and her husband about Suez, obviously unaware of
Darwin's true feelings about the matter. She shifts into demeaning comments
about her marriage. Brock and Ahce try to calm her down, but it is to no avail.
Susan's stream of sarcasm now takes a peculiar turn into sympathy for the
parachutists involved in the Suez operation.
SUSAN: I do know how they feel. Even now. Cities. Fields. Trees. Farms.
Dark spaces. Lights. The parachute opens. We descend.
Pause.
Of course we were comparatively welcome, not always ecstatic, not the Gaullists
of course, but by and large we did make it our business to land in countries where
we were welcome. Certainly the men were. I mean, some of the relationships, I
can't tell you. I remember a colleague of mine telling me of the heat, of the smell
of a particular young girl, the hot wet smell he said. Nothing since. Nothing since
then. I can't see the Egyptian girls somehow ... no. Not in Egypt now. I mean
there were broken hearts when we left. I mean, there are girls today who mourn
Englishmen who died in Dachau, died naked in Dachau, men with whom they
had spent a single night. Well.
Pause. The tears are pouring down Susan's face, she can barely speak.
But then . . . even for myself I do like to make a point of sleeping with men I
don't know. I do find once you get to know them you usually don't want to sleep
with them any more . . .
Brock gets up and shouts at the top of his voice across the room.
BROCK: Please can you stop, can you stop fucking talking for five fucking
minutes on end?
SUSAN: I would stop, I would stop, I would stop fucking talking if I ever heard
anyone say anything worth fucking stopping talking for.
Pause. Then Darwin moves.
DARWIN: I'm sorry. I apologize. I really must go. (Crossing the room.) M.
Aung. Farewell.
Kate Nelligan as Susan Traherne in Plenty
AUNG: We are behind you, sir. There is wisdom in your expedition.
DARWIN: Thank you.
AUNG: May I say sir, these gyps need whipping and you are the man to do it?
DARWIN: Thank you very much. Mme. Aung.
MME. AUNG: We never really met.
DARWIN: No. No. We never met, that is true. But perhaps before I go, I may
nevertheless set you right on a point of fact. Ingmar Bergman is not a bloody
Norwegian, he is a bloody Swede. (He nods slightly. ) Good night everyone.
Darwin goes out
BROCK: He's going to resign.
Pause.
SUSAN: Isn't this an exciting week? Don't you think? Isn't this thrilHng? Don't
you think? Everything is up for grabs. At last. We will see some changes. Thank
the Lord. Now, there was dinner. I made some more dinner for Leonard. A little
ham. And chicken. And some pickles and tomato. And lettuce. And there are a
couple of pheasants in the fridge. And I can get twelve bottles of claret from the
cellar. Why not? . . . There is plenty . . . Shall we eat again? (Curtain. )
ACT II
Scene 8
At the Brocks' home in Knightsbridge again, in July 1961, Brock enters the
room, the furniture of which is covered in white dust sheets. He is followed by
Alice and a 17-year-old girl named Dorcas. They have just returned from Dar-
win's funeral. Dorcas, one of Alice's history students, did not know Darwin and
PLENTY 185
was brought along for the ride. Alice explains to Brock that she is now teaching
in a school "for the daughters of the rich and the congenitally stupid," of whom
Dorcas is almost proud to number herself one.
Susan has entered during Alice's explanation, and she now sends her husband
out of the room to make tea. She tells Alice that she and Brock are supposed to
Ifeave soon to catch a plane for Iran, where her husband has been in a diplomatic
post for the past three years. They had only come over for a quick visit to attend
the funeral. Apparently, they were among the few present for the service. Darwin
had lost a lot of his old friends by speaking out publicly on Suez. Dorcas has never
heard of Suez. Alice and Susan speak affectionately of Darwin's obsession with
protocol, joking about how properly and discreetly he would endeavor to conduct
himself were he to come to in his coffin and find it necessary to rise from his grave.
And now to the purpose of Alice bringing Dorcas here — the girl is pregnant
by a friend of Alice's and needs to borrow some money. Alice has suggested that
Susan might help. Dorcas is very casual about the idea of an abortion. Susan
quietly says that she is good for the money. "Kill a child. That's easy. No problem
at all." Dorcas is oblivious to the way Alice and Susan stare at each other during
this exchange.
Brock returns with the tea and the news that he and Susan really must leave
immediately to make their flight. As Susan writes the check for Dorcas, Brock
speaks of how happy they've been in Iran. The phrases he uses rather recall some
of Darwin's enthusiasm for the challenge of post-war Europe in Scene 3. Susan
hands Dorcas a check for the money, explaining to Brock she's lending it for an
operation that will enable Dorcas to play an instrument again.
Brock asks Dorcas for help in hauling some stuff down to the car. Alone with
Alice, Susan says, "I knew if I came over I would never return." She now pulls
the sheets off the furniture and turns on all the lights. "I've missed you," she tells
Alice. Brock appears now to ask if Susan is ready to leave.
Scene 9
In the dark, we hear an excerpt from a BBC radio interview with Susan. She
talks of the faith she had in the organization that sent her to work in France
during the war and, moreover, expresses her opinion that these undercover
activities were one part of the effort "from which the British emerge with the
greatest possible valor and distinction." No, she tells the interviewer, she never
talks about the old days with her former colleagues. "We aren't clubbable."
The lights come up on a waiting room in the Foreign Office in January 1962.
An aide to Sir Andrew Charleson introduces Susan to him and leaves them alone.
Charleson, in his early 50s, is head of personnel. Susan has come to him behind
her husband's back because she suspects that Brock is being penalized profession-
ally for not returning to his post in Iran. Susan is quick to explain the fault was
hers, and Charleson has a ready supply of sympathy to offer. Still, Susan presses.
Is Brock's career suffering on her account?
CHARLESON: Mrs. Brock, believe me I recognize your tone. Women have come
in here and used it before ... I also have read the stories in your file, so nothing
186 THE BEST PLAYS OF 1982-1983
in your manner is likely to amaze. I do know exactly the kind of person you are.
When you have chosen a particular course . . . (He pauses.) When there is
something which you very badly want . . . (He pauses again. ) But in this matter
I must tell you, Mrs. Brock, it is more than likely you have met your match.
(The two of them stare straight at each other. )
We are talking of achievement at the highest level. Brock cannot expect to be
cossetted through. It's not enough to be clever, everyone here is clever, everyone
is gifted, everyone is diligent. These are merely the minimum skills. Far more
important is an attitude of mind. Along the corridor I boast a colleague who in
1945 drafted a memorandum to the government advising them not to accept the
Volkswagen works as war reparation, because the Volkswagen plainly had no
commercial future. I must tell you, unlikely as it may seem, that man has risen
to the very, very top. All sorts of diplomatic virtues he displays. He has forbear-
ance. He is gracious. He is sociable. Perhaps you begin to understand . . .
SUSAN: You are saying . . .
CHARLESON: I am saying that certain qualities are valued here above a simple
gift of being right or wrong. Qualities sometimes hard to define . . .
SUSAN: What you are saying is that nobody may speak, nobody may
question . . .
CHARLESON: Certainly tact is valued very highly.
Pause.
SUSAN (very low): Tell me. Sir Andrew, do you never find it in yourself to
despise a job in which nobody may speak his mind?
CHARLESON: That is the nature of the service, Mrs. Brock. It is called diplo-
macy. And in its practise the English lead the world. (He smiles. ) The irony is
this: we had an empire to administer, there were six hundred of us in this place.
Now it's to be dismantled and there are six thousand. As your power declines,
the fight among us for access to that power becomes a little more urgent, a little
uglier perhaps. As our influence wanes, as our empire collapses, there is little to
believe in. Behavior is all.
Pause.
This is a lesson which you both most learn.
A moment, then Susan picks up her handbag to go.
SUSAN: Sir Andrew, I must thank you for your frankness . . .
CHARLESON: Not at all.
SUSAN: I must, however, warn you of my plan. If Brock is not promoted in the
next six days, I am intending to shoot myself.
Charleson calls Begley, his assistant, and they try to persuade her to go to the
surgery. She has no intention of doing so, she explains in progressively agitated
tones. She has a function to attend at which she is expected to be rude, and she
wouldn't dream of disappointing.
CHARLESON: I think it would be better if you . . .
SUSAN (starts to shout): Please.
Charleson and Begley stop. Susan is hysterical. She waits a moment.
I can't . . . always manage with people.
PLENTY 187
Pause.
I think you have destroyed my husband, you see.
Scene 10
At the Brocks' home again, Easter 1962, some hours before the time of Scene
1, Brock sits figuring the finances while Alice puts leaflets into envelopes. Brock
talks of the need to move to a smaller place. He is hopeful about the effect of the
move. "I can't help feeling it will be better, I'm sure. Too much money. I think
that's what went wrong. Something about it corrupts the will to live. Too many
years spent sploshing around." We begin to get the idea that Brock and Alice
trade off keeping an eye on Susan. Alice speaks ironically of some of her former
friends, conveying something of the distance she has put between herself and
them. Brock is an an ironic mood as well.
BROCK: Looking back, I seem to have been eating all the time. My years in the
Foreign Service I mean. I don't think I missed a single canape. Not one. The silver
tray flashed and bang, I was there.
ALICE: Do you miss it?
BROCK: Almost all the time. There's not much glamor in insurance, you
know.
He smiles.
Something in the Foreign Office suited my style. At least they were hypocrites,
I do value that now. Hypocrisy does keep things pleasant for at least part of the
time. Whereas down in the City they don't even try.
ALICE: You chose it.
BROCK: That's right. That isn't so strange. The strange bit is always . . . why
I remain.
He stands staring a moment.
Still, it gives her something new to despise. The sad thing is this time ... I despise
it as well.
Alice reaches for a typed list of names, pushes aside the pile of envelopes.
ALICE: Eight hundred addresses, eight hundred names . . .
Brock turns and looks at her.
BROCK: You were never attracted? A regular job?
ALICE: I never had time. Too busy relating to various young men. Falling in
and out of love, turns out to be like any other career.
She looks up.
I had an idea that lust . . . that lust was very good. And could be made simple.
And cheering. And light. Perhaps I was simply out of my time.
BROCK: You speak as if it's over
ALICE: That's why I feel it may be time to do good.
Susan enters in an edgy state, asking them to give her a short time alone. Brock
is suspicious of a bit of blood he sees on her. Just a fingernail, she insists. Brock
asks Alice to get some nembutal out of a drawer.
Susan now says she thinks that, rather than sell the house, she and Brock
188 THE BEST PLAYS OF 1982-1983
should give it to Alice's charity for unmarried mothers. They should put down
mattresses and thereby help rid themselves of the corruption of the money they
have had. In this spirit, she has already tossed out of the window many of their
expensive and fragile objects d'art. Susan disappears, then reappears with a couple
of packing cases. The sound of the props of gracious living rattles inside. She rants
about their lack of true meaning. "What is this shit? What are these godforsaken
bloody awful things?" Brock confronts her.
BROCK: Which is the braver? To live as I do? Or never, ever to face life like
you?
He holds up the small card he has found.
This is the doctor's number, my dear. With my permission he can put you inside.
I am quite capable of doing it tonight. So why don't you start to put all those
things back?
A pause. Susan looks at him, then to Alice.
SUSAN: Alice, would your women value my clothing?
ALICE: Well, I . . .
SUSAN: It sounds fairly silly, I have thirteen evening dresses though.
BROCK: Susan.
SUSAN: Not much use as they are. But possibly they could be re-cut. Re-sewn?
She reaches out and with one hand picks up an ornament from the
mantelpiece which she throws with a crash into the crate. A pause.
BROCK: Your life is selfish, self-interested gain. That's the most charitable
interpretation to hand. You claim to be protecting some personal ideal, always
at a cost of almost infinite pain to everyone around you. You are selfish, brutish,
unkind. Jealous of other people's happiness as well, determined to destroy other
ways of happiness they find. I've spent fifteen years of my life trying to help you,
simply trying to be kind, and my great comfort has been that I am waiting for
some indication from you . . . some sign that you have valued this kindness of
mine. Some love perhaps. Love. Perhaps. Insane.
He smiles.
And yet ... I really shan't ever give up, I won't surrender till you're well again.
And that to me would mean your admitting one thing: that in the life you have
led you have utterly failed, failed in the very, very heart of your life. Admit it.
Then perhaps you might really move on.
Pause.
Now I'm going to go and give our doctor a ring. I plan at last to beat you at your
own kind of game. I am going to play as dirtily and as ruthlessly as you. And
this time I am certainly not giving in.
Brock goes out. A pause.
SUSAN: Well.
Pause.
Well, goodness. What's best to do?
Pause.
What's the best way to start stripping this room?
ALICE: Susan, I think you should get out of this house. I'll help you. Any way
I can.
PLENTY 189
SUSAN: Well, that's very kind.
ALICE: Please . . .
SUSAN: I'll be going just as soon as this job is done.
Pause.
ALICE: Listen, if Raymond really means what he says . . .
Susan turns and looks straight at Alice.
You haven't even asked me, Susan, you see. You haven't asked me yet what I
think of the idea.
Susan frowns.
SUSAN: Really, Alice, I shouldn't need to ask. It's a very sad day when one can't
help the poor.
Alice suddenly starts to laugh. Susan sets off across the room, resuming
a completely normal social manner.
ALICE: For God's sake, Susan, he'll put you in the bin.
SUSAN: Don't be silly, Alice, it's Easter weekend. It must have occurred to you
. . . the doctor's away.
Brock reappears at the open door, the address book in his hand. Susan
turns to him.
All right, Raymond? Anything I can do? I've managed to rout out some whisky
over here.
She sets the bottle down on the table, next to the nembutal.
Alice was just saying she might shp out for a moment or two. Give us a chance
to sort our problems out. I'm sure if we had a really serious talk ... I could keep
going till morning. Couldn't you?
Susan turns to Alice.
All right, Alice?
ALICE: Yes. Yes, of course. I'm going, I'm just on my way.
She picks up her coat and heads for the door.
All right if I get back in an hour or two? I don't like to feel I'm intruding.
She smiles at Susan, then closes the door. Susan at once goes back to
the table. Brock stands watching her.
SUSAN: Now, Raymond. Good. Let's look at this thing.
Susan pours out a spectacularly large scotch, filling the glass to the very
rim. Then she pushes it a few inches across the table to Brock.
Where would be the best place to begin?
Scene 11
Two months later, Susan and a man lie on a bed in a shabby hotel room in
Blackpool. He traced her through her radio interview. The BBC gave him her
address. He'd gone there to find she'd departed. He had met Brock. "He said
there'd been trouble. He'd only just managed to get back into his house." No, the
man says in response to her question. Brock did not seem to be angry. Mostly
he seemed to be missing her.
Susan tells the man about her habit of losing control, of the time she shot a
man (not seriously) and Brock bought her out of trouble and married her. The
man offers to be similarly candid, but Susan would prefer not to know. Their
190 THE BEST PLAYS OF 1982-1983
business together (and the grass they smoked) finished, they think about leaving
the room and going their separate ways.
The man now begins to talk about his disappointment with postwar life. He'd
hoped to lead a hfe with an edge to it. "Some sort of feeling their death was
worthwhile." He tells of the soul-shrivelling compromises.
Susan tells him she's just about to "go." "I've eaten nothing. So I just
go . . ."
"I hate, I hate this life that we lead," says the man. Susan, about to drift away,
asks for a kiss. He tries to embrace her, but she flops hstlessly back to the bed.
The man picks up his suitcase. "A fine undercover agent will move so that nobody
can ever tell he was there." He has turned off" the lights. In the darkness, she asks
his name. "Code name," he insists. "Code name Lazar." ''Lazar opens the door
of the room. At once music plays. Where you would expect a corridor you see the
fields of France shining brilliantly in a fierce green square. The room scatters.''
Scene 12
The years fall away to that day in August 1944 when the war was finally over
in France. On a bright, bright French hillside, Susan, age 19 and looking ''radi-
antly well,'' meets a French farmer. He is gloomy and seemingly not terribly
moved by the news of the end of the war. He complains of what he expects to
be a bad harvest this year.
FRENCHMAN: The land is very poor. I have to work each moment of
the day.
SUSAN: But you'll be glad I think. You're glad as well?
Susan turns, so the Frenchman cannot avoid the question. He reluc-
tantly concedes.
FRENCHMAN: I'm glad. Is something good, is true. (He looks puzzled.) The
English . . . have no feelings, yes? Are stiff?
SUSAN: They hide them, hide them from the world.
FRENCHMAN: Is Stupid.
SUSAN: Stupid, yes. It may be . . .
Pause.
FRENCHMAN: Huh?
SUSAN: That things will quickly change. We have grown up. We will improve
our world.
The Frenchman stares at Susan.
FRENCHMAN (gravely): Perhaps . . . perhaps you like some soup. My wife.
SUSAN: All right.
Susan smiles. They look at each other, about to go.
FRENCHMAN: The walk is down the hill. Comrade.
SUSAN: My friend.
Pause.
There will be days and days hke this.
ooo
ooo
ooo
ooo
ooo
ooo FOXFIRE
A Play With Songs in Two Acts
BY SUSAN COOPER and HUME
CRONYN
MUSIC BY JONATHAN HOLTZMAN
LYRICS BY SUSAN COOPER, HUME
CRONYN AND JONATHAN HOLTZMAN
Cast and credits appear on page 344
SUSAN COOPER (co-author) was born in 1935 in Burnham in Buckinghamshire,
England. She remembers beginning to write at about age 8, and at 10 she wrote
three plays for the puppet theater built by the boy next door. She graduated from
Somerville College, Oxford in 1956 and went on to the London Sunday Times as
a reporter and feature writer (Ian Fleming was her first boss). She has become best
known as a novelist (The Dark Is Rising, Behind the Golden Curtain), the author
of children's books and of a biography of J.B. Priestley, and the winner of the
Newbery Medal in the U.S., the Carnegie Honor Awards in Great Britain and other
international citations.
Ms. Cooper also wrote short pieces for the theater and TV, ''intermittently, " so
that her collaboration with Hume Cronyn is her first full professional production
and first Best Play. With Mr. Cronyn, she has also written a three-hour TV play.
The Dollmaker, commissioned by Jane Fonda. Ms. Cooper is married to an Ameri-
can; they have two children and live in Cambridge, Mass.
"Foxfire": by Susan Cooper and Hume Cronyn. Copyright © 1979, 1983 by Susan Cooper and Hume
Cronyn. Reprinted by permission of the authors. See caution notice on copyright page. All inquiries
concerning stock and amateur production rights should be addressed to: Samuel French, Inc., 25 West
45th Street, New York, N.Y. 10036. All inquiries concerning other rights should be addressed to:
Bridget Aschenberg, International Creative Management, 40 West 57th Street, New York, N.Y. 10019.
191
192 THE BEST PLAYS OF 1982-1983
HUME CRONYN (co-author) was bom in London, Ontario July 18, 1911 and
received his education at Ridley College, McGill University and the American
Academy of Dramatic Arts, from which he graduated in 1934. His first appearance
as an actor in the professional theater had already taken place with the National
Theater Stock Company in Washington, D.C in 1931. His first appearance on the
New York stage took place in Hipper's Holiday in 1934, and there has followed
an internationally distinguished acting career on stage, screen and television, some-
times co-starring with his equally renowned wife, Jessica Tandy (as in The Four-
poster, The Gin Game and Foxfire), honored by Tony, Obie and many other
awards, with a list of credits far too long to be detailed here.
Cronyn has also served as director and producer in all dramatic media, and he
is the author of the screen versions of Rope (1947) and Under Capricorn (1948),
as well as of short stories and articles. With Foxfire, in collaboration with Susan
Cooper, he now has entered the field of professional playwriting with a Best Play
the first time out. Foxfire was produced at the Stratford, Ontario Festival in 1980
and the Guthrie Theater in Minneapolis in 1981 before appearing on Broadway
Nov. 11, 1982.
Cronyn helped with the founding of the Guthrie Theater and the Phoenix Thea-
ter. He has served the American Academy of Dramatic Arts and the Actors Lab,
Los Angeles as a lecturer and the Stratford, Ontario Festival as a member of its
board of governors. The professional organizations of which he is a member include
AFTRA, the Screen Actors and Writers Guilds, Actors' Equity, the Society of Stage
Directors and Choreographers and the Dramatists Guild. The Cronyns have three
children and live in New York State.
JONATHAN HOLTZMAN (composer and co-lyricist) was born in Neptune, N.J.
in 1953 and was writing music for his Brielle School band at age 10. At 18 he was
faced with a choice between acting and composing, chose music and received his
BA in music from New York University. The author of many pop /rock and rhythm
and blues recordings, he was selected in auditions in 1979 by the authors of Foxfire
to write their show's songs, of which ''My Feet Took V Walkin' " is the principal
number.
Mr. Holtzman is special projects director of the American Guild of Authors and
Composers (the songwriters' guild), where he conducts classes in the art, and he is
the originator of the New York Songwriters Contest. He lives in New York City and
is married, with one child.
Time: Now — and before that
Place: Rabun County, Georgia
ACT I
SYNOPSIS: The dooryard of the mountain farm "Stony Lonesome" is backed
by a vista of the Blue Ridge Mountains ('T/ie land falls off steeply upstage.
■''^,m
^^ISF
^^/
1 - / -'1.
- - \
Jessica Tandy as Annie Nations in Foxfire
194 THE BEST PLAYS OF 1982-1983
Nothing can be seen between set and distant mountains except perhaps the tops of
tall trees or a tumbledown shed roof). The view is framed by the porch of the
farm cabin at left and a shed at right, with a path leading down the mountain
at right and access to the orchard and other parts of the farm at left. The porch
is furnished with a sturdy table and a rocker, and scattered around is the para-
phernalia of life in a mountain home.
The occupants of Stony Lonesome become visible as the lights come up: Annie
Nations ("a mountain woman of 79, wearing an apron over a long dark dress'')
sitting in her rocker wearing steel-rimmed spectacles and sewing a quilt; and
Hector Nations C'77, dressed in the worn and patched workclothes of a mountain
farmer'') leaning against a porch pillar enjoying the view, while the voice of their
son Dillard is heard offstage, in their imagination, singing of how he left the
homeplace because "My feet took t' walkin'."
Hector accuses Annie of worrying about Dillard, who has written to say that
he is giving a concert this weekend at Hiawassee Fairground, 30 miles from here,
and will stop by to see his mother.
HECTOR: What's chewin' on y'?
ANNIE: Don't rightly know. Wish he'd told more 'bout the children. I ain't
heared from Cheryl since last Christmas.
HECTOR: I never wrote a letter in m' life, 'cept t' President Hoover — an' he
never answered that.
ANNIE: It ain't hardly the same.
HECTOR: Well, he says everythin's fine.
ANNIE: No, he says, "Don't worry, everythin's fine." Makes me uneasy.
HECTOR: Dillard always done that.
ANNIE: He's a good boy.
HECTOR: He's a grown man! Traipsin' round the country with a guitar — what
kinda work's that?
ANNIE: Now, Hector.
HECTOR: Well, this land woulda took care a' him.
ANNIE: He weren't cut out.
Dillard's wife Cheryl gave him two beautiful children (though Hector hardly
knows them because he usually makes himself scarce when his son's family visits
the farm) and seems to be making Dillard happy, though she never did Hke these
mountains. Annie goes inside to the kitchen where she is preparing to make souse
meat from a hog's head, but Hector goes on talking just as though she were there,
telling how his father brought his mother up here and they raised nine children.
Annie brings the pot out onto the porch where it's cooler, but Hector hears
someone coming up the hill and drifts off left to the orchard. Prince Carpenter
("/« his mid-40s: an amiable, successful, hard-working real estate man with a ready
sense of humor a shrewd but not unprincipled operator") appears and
introduces himself. He is a local boy who met Hector when he was up here
handling a project for the Scouts. Now he represents the Mountain Development
Corporation, which wants to buy this farm.
Annie startles Prince by placing a bloody hog's head before him and going to
FOXFIRE 195
work with a knife, extracting the eye. Annie isn't quite strong enough to do the
job properly and asks Prince to help her. Prince cuts squeamishly into the eye
socket and splatters himself as he does so.
Prince asks Annie about her family. She has two boys and a girl — and five
grandchildren — all living away.
PRINCE: Then you're all alone up here. You and Mr. Nations, that is.
ANNIE: Most times. Course, we got good neighbors.
PRINCE: Sure. Not too many of them left, though. The Harts gone, the Angels,
the Burrells, the Bookers.
ANNIE: You knew all them folk?
PRINCE: You betcha. Dealt with every one a' them.
He hands Annie back the knife.
ANNIE: Y' done it! Thank y'.
She continues to cut and trim, dropping scraps in the bucket and waving
away flies.
PRINCE: About your land. I made Mr. Nations an offer for it, that summer,
but he wasn't of a mind to sell.
ANNIE: Oh, I knowed that.
PRINCE: Well, ma'am, we're now prepared to double that offer. One hundred
thousand dollars cash down, on delivery of a free and clear title.
Prince has plans for this place: "Vacation homes — beautiful! Caddies, Conti-
nentals— none of y'r camper people, nothin' like that." Annie agrees to talk it
over with Hector who, she tells Prince, is "Up in th' orchard." Prince suggests
that he have a word with Hector himself. Annie observes, "You could try."
Prince, rinsing the traces of the hog's head from his hands, informs Annie that
another car is on its way up the road and warns her against "Florida sharpies"
who might take advantage of her. She promises to take no action without consult-
ing Prince. He goes off to find Hector, just as Hector appears around the corner
of the house, announcing, "He ain't gonna find me."
Hector advises Annie, "All y' got t' do is say no," and he decries city folk who
go around picking what they want from stores instead of making or growing it
and live like rolling stones, like Dillard. He indicates their wagon, long unused:
"Remember this? That's when y' had t' know how t' make a livin'. First thing
I built. Used t' fill her up with corn, sorghum, cabbage, take the stuff t' market
— bring it right back home agin an' feed it t' the hogs! Ol Hoover's time. If it
hadn't been fr corn liquor an' smart tradin' we'd a had an empty table round
here."
Hector hears someone else approaching up the hill and departs as Holly Burrell
{''about 25; attractive, bright and slightly offbeat; an engaging mixture of eagerness
and vulnerability'') enters. She is a local girl who has a successful teaching career
in the high school and loves the mountains. She calls Mrs. Nations "Aunt Annie."
She has brought Annie a poster advertising Dillard's concert and offers to take
Annie to it — today is Saturday, August 30, Annie learns, and the concert is
tonight.
Annie goes indoors to wash up, taking the hog's head with her, as Dillard
196 THE BEST PLAYS OF 1982-1983
Nations appears. C'He wears time-weathered boots, jeans, shirt and denim jacket:
a man in his early 40s with an attractive, lived-in face. He is carrying a mesh bag
of oranges. ") Holly greets Dillard and asks after his wife Cheryl (not accompany-
ing him here) and his children ("They got their mother's looks and their daddy's
talent"). Holly goes inside to tell Annie that Dillard has arrived, then comes back
out.
HOLLY: It's good to see you again.
DILLARD: Hey, will you do something for me?
HOLLY: I'll try.
DILLARD: It ain't hard — jus' tell me who the hell you are?
HOLLY: You don't remember?
DILLARD: Guess not.
HOLLY: Right here on this porch. Your pa was in the rocking chair, and — oh
God! — I asked him if he'd ever shot anybody. And you sang a hymn — right over
there.
DILLARD: I'll be damned — you're that kid with the tape recorder . . . Holly — ?
HOLLY: Burrell.
DILLARD: Holly Burrell. You still live around here?
HOLLY: I teach at the high school.
Annie comes out in a clean apron, excited.
ANNIE: Where is he?
DILLARD: Hello, Ma.
He goes to her and kisses her; she returns it a trifle perfunctorily.
ANNIE: I weren't expectin' you.
DILLARD: Didn't you get my letter?
ANNIE: I got mixed up. You playin' tonight?
DILLARD: Yes ma'am.
ANNIE: But y' can stay over.
DILLARD: 'Fraid not. Ma — I gotta get back to the kids. I told you it'd have
to be a real short visit.
ANNIE: Well, I ain't gonna cry about it. I got y' now.
HOLLY: I'm taking her to the concert.
ANNIE: Oh, I'd dearly love that. Holly, I dearly would, but it's a far piece for
old bones like me. An' I don't believe Hector'd go. Let me jus' turn down that
damper — I'll think about it.
She goes hastily into the kitchen.
DILLARD: She won't come. She don't go nowhere. Jus' makes it down to the
store an' the post office when she has to. She's glued up here.
There's a pause.
HOLLY: Dillard — she said "Hector."
DILLARD: Yup.
HOLLY: Your pa.
DILLARD: That's right.
HOLLY: But he's dead.
DILLARD: Not for her he ain't. (He sighs. ) Go in the bedroom there, his clothes
are still hangin' up, his tools under the bed. I moved 'em once, an' she put 'em
FOXFIRE 197
right back. When Pa was ahve, she used t' wash an' get into her nightgown behind
a curtain in the corner. Curtain's still there.
HOLLY: Is she all right?
DILLARD: In the head, you mean? She's clearer'n I am.
Annie comes back with blackberry drinks for all. Holly and Dillard press
Annie to come to the concert (she hasn't heard him at a concert since he won
a medal at the State Fair at age 17). Dillard promises to sing something special
for his mother, and Holly offers to bring her straight home afterwards, assuring
Annie that she doesn't need anything special to wear. Annie finally accepts: "I
guess maybe it'll be all right. Just this once."
As Holly leaves, she notices a man in the orchard — "Jus' some man pickin'
apples," Annie informs them. Alone with his mother, Dillard reports that his wife
and family are O.K., and that one of his children is learning the guitar. Dillard
will play an engagement in Tampa this winter in order to be near his family, and
he wants his mother to join them down in Florida.
DILLARD: You don't have t' sell the house — jus' come where I can keep
an eye on you.
ANNIE: Now Dillard honey, don't start that agin.
DILLARD: It'd mean a lot t' the kids.
ANNIE: I belong here.
DILLARD: Come for the winter, then.
ANNIE: Who'd feed the chickens?
DILLARD: Ma — y'can buy eggs. (Pause. ) It's Pa, ain't it?
Annie doesn 'r answer. After a moment Dillard gets up and moves to her.
He kneels in front of her and takes her two hands in his.
Now I ain't gonna say no prayers — I jus' want you t' listen t' me. Ma — you ain't
s' young no more. You're up here all on y'r own. An' winter's comin' — y' c'd trip
on them steps an' jus' lie there an' freeze. Now you let Pa rest, an' come live with
us.
ANNIE: I ain't seen y' look s' serious since y' used t' talk about y'r music.
DILLARD: I ain't talkin' about music now. Please, Ma.
ANNIE: No, you let me go on. You're talkin' about y'r pa restin' — an' he is.
Right here. Up in the old orchard, with his ma and pa, an' y'r little brother an'
sister. An' when my time comes I'm gonna lay right down there beside him.
Nothin's ever gonna change that — not you, nor Florida, nor nothin'
Annie is determined to continue sleeping in the same bed she's slept in since
she was married, and Dillard means to continue to try to convince her to move.
Dillard notices that the smokehouse has caved in and its door is broken open —
it seems Annie was caught in there for a whole night after the door stuck and
was released the next morning only because a neighbor came to cut some wood
and heard her cries for help. That is just the sort of accident Dillard fears might
happen to his mother. She escapes into the house while he expostulates, ''You
could break y'r neck up here and nobody'd know! — an' all 'cause a' Pa!"
Prince Carpenter comes around the corner of the house with a basket of apples
198 THE BEST PLAYS OF 1982-1983
he's picked. He sees the oranges Dillard has brought for his mother, guesses that
he's from Florida and assumes he's a rival real estate developer. Prince informs
Dillard that it's no sale because Hector Nations "won't budge ain't never
goin' to sell." Prince pretends he's just talked to Hector, until Dillard reveals that
he's the son and that his father has been dead for five years. Undaunted, Prince
informs Dillard that he has doubled his original offer and hopes that Annie will
decide to move on, hke Prince's own mother, to some nice little place with all
the conveniences in a town like Greenville, where someone can keep an eye on
her.
DILLARD: Ma's got good neighbors.
PRINCE: Had, Dillard, had. You're outa touch. Must get mighty lonely up here
— guess that's why she brought back y'r pa, huh?
DILLARD: You knew about that?
PRINCE: Hell, Dillard, this is my territory.
DILLARD: You didn't call her on it.
PRINCE: What do you take me for? I wasn't about to spoil anythin' for a fine
old lady. I like these people, an' everybody likes ol' Prince.
DILLARD: This place ain't for sale.
PRINCE: You won't get a better offer. We can't use all the land anyway. There's
about six acres of swamp — plus your old burial ground up there. Law won't let
us touch that. Don't just piss on it, Dillard — think it over.
DILLARD: You're wasting y'r breath, Mr. Carpenter. It ain't my land — it ain't
my hfe.
PRINCE: IVs your mother. Face it, Dillard — everythin's changed since you an'
me grew up in these mountains. The kids with any get up an' go have got up an'
went — jus' like you did. The old ones are jus' hangin' on like foxfire on rotten
wood.
Prince departs as Annie returns to the porch and discusses with Dillard the
disposition of the farm. Hector would have told Prince flatly no sale, and Annie
has no mind to sell but would give it to Dillard and his children (who will inherit
it anyway) if they wanted it. Dillard declines: "I do love this place, but I can't
live here." Annie remarks sadly, "No. You never could, once you was growed."
Dillard advises Annie not to talk to the real estate man if he should return. It's
time for Dillard to leave, and Hector enters and watches as Annie tells Dillard
to give her love to the children and promises to give his to Hector.
DILLARD: I won't try t' see you after the show — I gotta get back t'Atlanta
an' catch that plane. Hope y' like it.
ANNIE: I'll clap real loud.
DILLARD: Sorry it was s' short. (He is finding it very hard to leave.) I'll write
when I get back. Don't you go closin' no more doors on y'rself.
He's gone. Annie stands still, looking after him. we hear the treefrogs.
ANNIE: He sent you his love.
HECTOR: I beared.
ANNIE: Somethin's wrong. Hector.
FOXFIRE 199
HECTOR: He on at you t' go live with him agin'? (Annie doesn't answer. ) That's
it, ain't it? Come t' Florida. Well, / ain't goin'.
ANNIE: He ain't asked y'.
HECTOR: You gonna leave me? You're way too old fr that now.
ANNIE: What I'm too old for I'll decide. Dillard's goin' through rough waters.
HECTOR: Well, we went through 'em too.
ANNIE: Times is different.
HECTOR: They ain't harder. Like the Bible says, man is born unto trouble —
not just t' pickin' a banjo.
ANNIE: Hector honey, the Lord forgive me, but I sometimes get a little tired
a' what the Bible says. An' he weren't born t' trouble — he made a good start.
April 7th, 1945. You were right there beside me.
Annie goes indoors, as the lighting changes to a flashback. The doctor ("m his
60s, a weary, kindly man'') comes up the hill. Hector assures him that Annie is
O.K. and is surprised to learn that the doctor will want $5 cash — ^just about all
Hector has — for delivering the baby, unlike the midwife of 1 3 years before, who
took her fee in liquor and tobacco.
The doctor lays out his instruments, as Annie appears — 42 and very pregnant
— bringing clean rags, a quilt and a sheet. Hector continues badgering the doctor
about the midwifery of bygone days.
HECTOR: Them old grannies had a whole heap of experience. Seems t' me there
ain't nothin' t' beat self-experience.
DOCTOR: And she took the baby upside down, so its liver wouldn't grow to its
sides.
HECTOR: What d' you do?
DOCTOR: I don't give it catnip tea either.
HECTOR: Cures the hives.
DOCTOR: Newborn babies don't have the hives.
He turns to Annie, takes the sheet from her pile, indicates the table.
You scrubbed this like I told you?
ANNIE: It's clean.
The doctor is spreading the sheet on the table.
Aunt Bessie always took care a' me in the bed.
DOCTOR: I'm sure she did.
HECTOR: Built that bed m'self. Aunt Bessie Uked it fine.
DOCTOR: Too soft, too low — and I've got a bad back.
The doctor instructs Hector to wash his hands in whiskey. Annie is seized with
pain, and together the men get her onto the table. Hector insists on bringing
catnip tea, but the doctor waves it away and tests Annie's blood pressure. At
Annie's request. Hector covers her with the quilt while the doctor washes his
hands and Hector tells how they lost two previous children: one strangled on the
umbilical cord at birth and one carried off at age 5 by the flu.
Hector fetches an axe to put under the table to cut the pain — and now he must
wash his hands again. Annie asks Hector to sing something. Hector obliges with
200 THE BEST PLAYS OF 1982-1983
"Young lady take a warninVTake a warnin' from me/Don't waste your affection-
/On a young man so free." He breaks off, startled, when he sees the doctor handle
a pair of forceps, but he takes up the song again as the lights fade and then come
up on Dillard dressed in white for his concert and singing a lilting version of the
same song: "They'll hug you, they'll kiss you/They'll tell you more lies/Than the
crossties on the railroad/Or the stars in the skies."
Dillard speaks in a mountain vernacular exaggerated for the stage perform-
ance, introducing a number about his father's trading skill, presented in song and
instrumentally by Dillard and his "Stony Lonesome Boys":
Oh he'd study an' he'd scratch an' he'd grow what he was able
But he could not grow the money to put meat upon the table;
So he'd swap a little somethin' and he'd always get back more
An' when he got through tradin' there was cash for the store:
He was a sweet talker
Pa was a tradin' man;
Sweet talker
Best count y'r fingers if y' shake his hand:
A sweet talker
Ain't nothin' like a tradin' fool:
He was a sweet talker.
He could swap a bent nail for a blue-eyed mule!
Dillard announces a song to be sung especially for his mother, who is in the
audience. It is the song which was heard offstage in the opening scene:
Sure I remember the homeplace,
Sure I remember it clear.
Because the day that I left her
Was just this time of year;
I could see her smile, almost every mile.
But my feet took to walkin'.
My feet took to walkin' . . .
Lights fade on Dillard's concert and come up on Annie and Holly returning
to Stony Lonesome later that evening, in the moonhght. Annie was impressed by
the applause. While Holly goes inside to make tea, Annie sits and is soon joined
by Hector, who reproaches her for going off and forgetting to feed the chickens.
Annie tells Hector about the song celebrating his trading skill.
To Annie and Holly's astonishment, Dillard appears coming up the hill — he's
decided to stay over until the next day. Dillard wants to know how they liked
his performance. "Real nice" is Annie's comment, though she noticed what hot
work it was and promises to wash Dillard's shirt tomorrow. "Y'r pa woulda bin
proud a' you, boy," Annie tells her son before she goes inside to bed after the
tiring day.
Dillard presses Holly to tell him what she thought of his performance.
HOLLY: Well, loud and . . . joky. Oh Dillard, I'm no critic.
DILLARD: What didn't you like?
FOXFIRE 201
HOLLY (hesitates): Well, I tell y' — us*uns down here in good ol' Rabun County
ain't all hillbillies.
DILLARD: I am. Up there I am. That's just what they want. I do what I have
t' do for the customers.
HOLLY: D'you have to dress up like an ice-cream soda?
DILLARD: All part a' the image.
HOLLY: It's not you.
DILLARD: Now what d' you know about me?
HOLLY: I know we both come from the same place, and we don't talk like Li'l
Abner. Turning your daddy into a joke — you're a singer. You sounded like a
salesman.
DILLARD: I'm sweet-talkin', honey — jus' like m' pa. He used t' say, y' make
a nickel any way y' can.
HOLLY: He made it by plain hard work! I remember your daddy. He wasn't
all sweet talk.
Holly carries a bucket off to get water while Dillard, remembering the past of
30 years ago, evokes a memory of his father making the rocker which is now on
the porch. While working on the chair. Hector tells how he once eked out a living:
"First job I had after I married y'r ma paid ten cents an hour. Farmin'. Couldn't
make it — no way. So I started diggin' wells. Dug 'em eighty, a hundred foot deep.
Dollar a foot. That's good quick money — but mean work. Y're down in that hole,
y' look up and the sky ain't no bigger'n a nickel. Sometimes y'hit gas. Comes
spewin' outa the bank — sounds like bees swarmin'. They don't pull you out quick,
y're a goner. I had a moustache in those days, sandy-colored. Gas turned it
blacker'n a crow." One day a jokester threw a live cat into the hole with Hector,
and Hector managed to kill it with a shovel before it tore him to pieces. After
that, Annie wouldn't let him dig wells any more.
Back in the present. Holly returns and carries water into the house, while
Dillard takes from his guitar case a pair of life-sized paper cutouts of a boy of
8 and a girl of 5 — images made by Dillard's children, a present for their grand-
mother. He pins them on the wall so they'll be the first thing Annie sees when
she wakes up.
Holly apologizes to Dillard for criticizing his performance (she likes the way
he used to sing and play the guitar solo). She asks after Cheryl, whom Dillard
describes as "fastest credit-card in the South" — a city girl.
Dillard mentions Prince Carpenter's offer to buy this place. Holly warns him
against it; her family place went that route, and now "my daddy's boxed up in
a little house in town, staring at the walls." She hints that Dillard and Cheryl
might have an ulterior motive in asking Annie to move near them, so Grand-
mother could take care of the children sometimes. On the contrary, Dillard
declares, it's Annie they would want to look after and keep safe. Holly replies that
Annie isn't afraid to live alone up here, and her visions of Hector mean more to
her than the conveniences of civilization. "Don't push too hard, Dillard. Just
think about it — is leaving here what she wants — or what you want?" Comment-
ing that she still likes the way Dillard used to sing. Holly departs.
After Holly is gone, Dillard picks up the song "My feet took t' walkin" in his
202 THE BEST PLAYS OF 1982-1983
simple, non-concert style, and Annie appears in the doorway in her nightdress,
listening. Hector also comes in.
DILLARD (sings):
The wild rose hung by the roadside
With the honeysuckle above
An' the breeze was gently singin',
As sweet as the mournin' dove;
An' I've never found such a heartbreak sound
Till my feet took t' walkin',
My feet took t' walkin',
No sense in talkin' it out —
He breaks off suddenly, striking a discord on the guitar, and sits
brooding. We hold for a moment on Annie watching him and Hector
watching her. Then the lights go down. Curtain.
ACT n
Early the next morning, Hector is gazing at the mountains while Annie, having
washed Dillard's shirt, enters with a pot of coffee. Dillard enters in undershirt
and jeans. He has found the guitar he played in childhood and starts tuning it.
Annie questions Dillard about his family and finds that the children are staying
with friends — Cheryl is away. Annie serves Dillard the coffee, while Hector
comments that there's something Dillard isn't telling, but it's bound to come out.
DILLARD: Ma? When you talk t' Pa — d'y' see him?
ANNIE: Clear as clear.
DILLARD. But is he there?
HECTOR: I'm here.
ANNIE: Sometimes.
DILLARD: Can y' touch him?
ANNIE: Y'r pa weren't much f r touchin'.
DILLARD: Y' had five kids, f r God's sake!
ANNIE (reprovingly): That's right. F'r the Lord's sake — an' mine and y'r pa's
— an' for this place.
DILLARD: Why this place?
ANNIE: What else is there? Fam'ly's gotta have a place.
Pause.
DILLARD: Y' remember the time I brought Cheryl an' the kids up here jus'
before Pa died? Pa planted a tree. I remember it real well. You was holdin' young
Heckie by the hand while he tromped down the dirt, an' Pa said, "That's your
tree, boy. Now y' got somethin' here belongs t' you."
HECTOR: I didn't say that. Said, "Now y' got roots here, boy."
Dillard wants to know whether his mother always loved his father. Not at first,
Annie admits (and Hector disappears, not wanting to hear this). She was a bit
Hume Cronyn, Keith Carradine and Jessica Tandy in Foxfire
204 THE BEST PLAYS OF 1982-1983
scared of him at first. She remembers a day of corn-shucking, with the fiddles
playing and the men competing to find a jug of whiskey hidden in the pile of corn
— and the first one to find a red ear got to kiss the prettiest girl.
Annie goes back 62 years in memory to the sound of the fiddles, and the square
dancing, and Hector triumphantly waving the red ear, then awkwardly kissing
Annie; then confessing to her that he didn't really find a red ear, he had one
hidden in his pocket. He wanted to create this opportunity of asking her to marry
him and raise a family together on the homeplace. Annie protests that she's still
in school, and besides, she's scared of him. She likes him, but, "You're too —
hasty." Hector promises to change, and to take care of her, as the lights indicate
a change back to the present, where Annie tells Dillard she made Hector wait
two years for her hand. Dillard wishes he and Cheryl had waited, too.
DILLARD (not looking at her): She's gone. Ma.
ANNIE: Gone?
DILLARD: Took off. Left.
ANNIE: Why?
DILLARD: Lots a' reasons.
ANNIE: You strike her?
DILLARD: No! — Mebbe I should've.
ANNIE: Another man?
DILLARD: Yup.
ANNIE: Did she take the children?
DILLARD: They didn't have room in the trunk. She wants a divorce. Got herself
a lawyer.
ANNIE: What you gonna do about it?
DILLARD: I ain't gonna let her have my kids.
ANNIE: Her kids too.
DILLARD: She quit. I didn't.
ANNIE: How you gonna look after two younguns — you travellin' all the time?
DILLARD: I'll work somethin' out. They're all I got. And godammit, I'm their
pa.
ANNIE (wearily): Yeah, you're their pa, but y' got no wife an' no real home.
DILLARD: I'm way ahead a' you. Ma. I cain't come back here.
Pause.
ANNIE (slowly): You want — I should go there?
DILLARD (passionately): No! Yes, of course I do! I been tryin' f r years — but
not jus' t' bail me out. No way! I don't want that — an' I don't wanta wait for that
phone call tells me t' come carry you out feet first. It's not me, it's you. Y' cain't
make it alone, an' Pa's dead! (Wildly. ) How do I get through t' you on that? He's
dead — dead!
Annie stares Dillard down, then asks him gently if he doesn't sometimes hear
his father's voice too. Yes, always teUing him things he'd rather not hear, Dillard
admits. As the lights indicate a flashback to a time when Dillard was 16, Dillard
continues strumming while his father returns from working in the fields and is
annoyed to learn that Dillard hasn't yet checked the planting calendar, as he was
FOXFIRE 205
told to do. While Hector goes inside to change his clothes, Dillard reveals to his
mother that he earned S5 playing at a dance and offers to buy eggs — the chickens
aren't laying well. Annie is grateful for Dillard's offer, but her immediate reaction
is, "Don't you tell y'r pa."
Hector comes in with the planting calendar. Dillard assures him he's done all
his other chores: "Brought in the wood, filled the buckets, watered the stock,
mucked out the stall, cleaned the trough, collected the eggs — there was only
three." Tomorrow, then, Hector decides, they'll plant potatoes.
DILLARD: I though y' wanted me t' paint the barn.
HECTOR: Not tomorrow.
DILLARD: But it's gonna be fine. We got all next week t' plant taters.
HECTOR: No we ain't. It's new moon Wednesday.
DILLARD: We shoulda done it today, then.
HECTOR: Signs was in the feet today.
DILLARD: Oh Pa. What's the difference?
ANNIE: (warning): Dillard . . .
DILLARD: Well . . . it's old-timey talk, Ma.
HECTOR: An' what's wrong with that?
DILLARD: Nothin', I guess.
HECTOR: You get it straight about taters now. Y' always plant 'em in the last
quarter. Y' plant 'em in the hght a' the moon, they make all vine and no tater.
Any fool knows that.
DILLARD: Yes, Pa.
ANNIE: People's been goin' by the signs for a long time, boy.
DILLARD (sighs): I know.
ANNIE: We don't never kill a hog on the new a' the moon, y' know that. Y'r
cracklin's'll come out all soft an' puffy if y' do.
Dillard quotes the County Agent, Wilson, who teaches a course in tenth grade
(and who also plays the guitar), that there's no scientific basis for the so-called
Signs. Hector, irritated, defies the learned scientist to stand an egg on end as he
proceeds to do — by putting it down hard enough to crack and flatten the shell
at the base. He then quotes Genesis: "Let there be light in the firmament t' divide
night from day, an' let them be fr signs. "
Dillard cites a nearby family who ignored their grandfather's advice about the
Signs, did just the opposite and harvested a fine crop of corn. (Hector declares,
"Foolishness. If they'd planted it in the right Sign, they'd a got twice as fine a
crop.") And Wilson consistently gets a good crop.
HECTOR: I'm gettin' a mite tired a' that feller's name.
DILLARD: He plants by the weather an' the seasons.
HECTOR (with his last ounce of patience): An' I plant by what controls the
weather an' the seasons.
DILLARD: Oh Pa.
HECTOR (erupting): Don't you Oh Pa me. You get that know-all outa your
voice, boy.
206 THE BEST PLAYS OF 1982-1983
DILLARD: But y' can't prove it, Pa.
HECTOR: Don't you tell me I ain't proved it!
ANNIE (hurriedly): Mr. Wilson jus' don't understand the way we do things.
Now you fetch me a cup and I'll save that yolk.
Dillard rises, starts to cross.
HECTOR: It ain't just his Mr. Wilson. Now you listen t' me, boy. You been
gettin' way above y'rself lately. Always makin' out like we don't know nothin'.
Well, we know a goddam sight more than some a' these big-talkin' friends a'
yours!
Dillard ducks into the kitchen.
ANNIE: There's no need t' cuss in front a' the boy, Hector.
HECTOR: There's no need fyou an' me t' spat in front a' him neither, but this
is my house, an' if I have t' cuss t' get through t' him, I'll cuss. I bin workin' this
land thirty-five years, an m'daddy thirty years before that. He taught me, an' I
got it all uphill tryin' t' teach him. There's no guitar-playin' teacher c'n tell y'
— y'learn it by doin' it!
Dillard has returned with the cup. Annie retrieves the leaking egg.
If you want t' study farmin', y' c'd keep y'r eyes open right here. Seems like every
time I turn round y'r pickin' at that thing! That ain't no fit occupation f r a man!
DILLARD (stung): I made five dollars pickin' at this thing!
HECTOR: How'd y' do that?
ANNIE (hastily): Hector, y'ought t' look t' Beauty real quick.
HECTOR: Why?
ANNIE: Seems like she's got the heaves.
HECTOR (back to Dillard): How'd you make five dollars?
ANNIE: Her sides is goin' in and out like the bellows!
HECTOR: How'd y' make it?
DILLARD (subdued, lost): Playin' at the dance.
HECTOR: Sat'day night?
DILLARD: Yes sir.
Pause.
HECTOR: You tol' me you was goin' coon-huntin'.
DILLARD: Yes sir.
HECTOR: You tol' me you never even seen a coon.
DILLARD: That was true, Pa.
But the rest of it was a lie. Hector hands Dillard his jackknife and orders him
to go cut a switch about the thickness of a finger. Annie pleads for Dillard, but
Hector is adamant. He feels that Annie has always been too soft in handling their
sons (another one, Jed, left and hasn't been back in eight years).
Dillard returns with the switch, and Hector takes him into the house to punish
him for the lie. When Annie hears the blows begin to fall, she tries to distract
herself by seizing a broom and sweeping the porch, but she feels each of them
herself.
Hector comes back outside, breaks the switch, throws it away and goes to see
about the mare. Beauty. Annie tells Hector she lied about Beauty, but Hector
stalks off anyway, with Annie calhng after him, "I'm right sorry for y'. Hector!"
FOXFIRE 207
The time changes to the present, where Dillard is teUing his mother that the
whipping didn't hurt because he had put the planting calendar into his britches.
He doesn't remember pain, he remembers only anger. He also remembers that
his brother, Jed, was almost murderously furious at Hector when he left home
(and they also have a sister, Millie, whose oldest boy is studying for the priest-
hood).
Dillard has to leave now, but he promises to bring the children back for
Thanksgiving. Meanwhile, Annie won't feel lonely, as she has both the Lord and
Hector looking after her. As Dillard goes into the house to get his things, Hector
comes to watch him leave. Annie tells Hector she always wished to have her
family around her and is tired of watching her children disappear down the hill
one by one. When Dillard reappears, Annie kisses him and waves him away, then
sits cradling his old guitar in her lap.
HECTOR: He'll be back.
ANNIE: No — he's got the family now.
HECTOR: An' you got this place.
ANNIE: Place 'r family. That the choice?
HECTOR: Well, mebbee we was lucky. No choices. Y' married, an' y' stayed
married. I'm still here.
ANNIE (looks at him for a long moment): No, Hector. You're up in th'old
orchard.
Pause.
HECTOR: Was you brung me down. You wanta change that?
ANNIE (anguished): Please, Hector. Things change whether we want 'em to or
not
There are two grandchildren to be considered, Annie insists, and Hector must
let her figure out for herself what she ought to do in the circumstances. Annie
thinks back to the time five years ago when Hector left her. The scene changes
to that past time, ''and when Hector turns he is a frail, querulous, deaf old man. "
Dillard appears with Hector's jacket and helps his father into the rocker. Holly
comes in with recorder and camera, snapping pictures for her school magazine.
Hector has just come out of the hospital and didn't like being down there in
the town. He declares, **So I been poorly — but I don't aim t' slack off none. When
the Lord made a man he made him good. He made him tough. An' this ol' body
is really put together, buddy. Y' cain't hardly tear it apart, it's so well put
together. An' I'm gonna live jus' as long as I see anybody else a-livin'! Now ain't
nobody need say nothin' about that!"
Holly brings up the subject of children leaving their mountain home and
families selling out. Holly herself loves this area and means to stay here and teach
after she finishes school. Holly assumes that this farm is the most important thing
in Hector's life, but Hector sets her straight, nodding at Annie and declaring,
"She is" — thus sending Annie inside in a fluster of embarrassment.
Most people she knows mean to stay here. Holly says, but some like her
grandmother would like to have a trailer and a TV set. Hector expounds the evils
of TV — "all sex and guns. Betcha half those fellers never handled a gun in their
208 THE BEST PLAYS OF 1982-1983
life." Did Hector ever shoot anybody? Holly asks. If so, he isn't about to tell her.
But when Holly comments, "My daddy said a revenuer got shot right over in the
next holler," Hector freezes and there is an awkward silence among them all,
including Annie, who has come back outside.
Hector takes his pill, as they recall the primitive medical and dental treatments
of the old days. Hector admits that some of today's improvements — a tractor, for
example, to work the farm in place of horses — are desirable, but he insists that
some of the old ways were better — the neighborliness, the closeness to the land.
The bell down in the valley would toll the years of a deceased person, and
everyone would gather to help with the burial and maybe sing a song or two.
Dillard remembers one called '*Dear Lord" and sings it while the rest of the stage
goes dark:
Now the stars is restin', settin' on the hill,
An' nothin' is a-soundin' but a whippoorwill;
Down in our holler there the foxfire glows.
Dear Lord, give all your creatures their repose:
The day is done, dear Lord,
Tomorrow's sun, dear Lord,
Is sure to come . . .
A distant bell tolls, and the lights come up on Annie laying out Hector's dead
body on the table, his arms folded on his chest. She must tie his necktie and put
coins on his eyelids. Neighbors are taking care of the cows and making a coffin.
As the bell sounds its 77th and last ring for Hector, Annie is telling Dillard that
his father boasted to the doctor about the medal Dillard once won, second place
in a statewide guitar competition. Annie is not going to weep for Hector, because
he didn't like tears, she recalls; Annie once caught Hector crying when Dillard's
sister died, but then he hated himself for it. Annie also remembers: "I caught him
one other time too — but he weren't cryin'. I never ever told anyone 'bout that,
but I guess it don't matter now. It was at a dance over t' Highlands. I was carryin'
you, so I was jus' watchin'. But my back began t'ache, so I went out t' the wagon,
and y'r pa had his arm round the Bryson girl. She was a pretty little thing. Had
long black hair down t' her waist, an' she'd shake her head like a filly troubled
by the flies. They was both laughin'. I jus' went back in an' sat down agin. It was
hurtful — an' every time after that, when he travelled over that way, I wondered
some. Needn't have, I guess."
Annie has lost one of the quarters she was to put on Hector's eyelids, so Dillard
takes out his wallet and gives his mother the medal he won at the guitar contest.
She puts the coin and the medal on Hector's eyelids, strokes his hair and then
goes inside while Dillard sings a second verse of "Dear Lord."
When Annie comes out again. Hector is standing, leaning against the table, and
time has moved forward again from Hector's death five years ago to the present.
Annie hums the tune Dillard was singing, then crosses toward Hector.
HECTOR: They built me a good enough box, but they was poor hands at
carpenterin'. Grady shoulda stuck t' milkin' an' Gudger t' playin' his fiddle.
FOXFIRE 209
Spaces a quarter-inch wide between them planks. Lucky it wasn't rainin' that day.
ANNIE: It weren't rainin'. Ground was real hard.
She turns, leaving him — for good — and goes back to the house. When
she reaches the cut-out figures on the wall she touches them, then goes
into the kitchen.
HECTOR: They dug that hole up in th'old orchard, an' they laid my box in the
dirt. (He looks at the audience. ) That sound messy t'you? Well, I'm real proud
of it. (He rubs his hand on the ground. ) This is it. Dirt. Dirt cheap, as the sayin'
goes. Dirt cheap yet y' can't put a price on it, no more'n y' can on a man's life.
Now that's peculiar, ain't it? This here's mine. My dirt. My land. (He looks out
at the surrounding hills fi)r a moment; then grins and gets up. ) Course, it ain't mine
exclusive. It's where we all come from, and where we'll all end up one way 'r
another. The very best grade fertilize. I respeck that Nothin' wasted. The
year after they put me down I had that ol' apple tree bloomin' like the finest
spring.
Annie comes out wearing her coat and carrying a handbag. She proceeds to
take down the cut-out figures as Dillard comes out of the house with a roped box.
The rocker and the other things will be sent along soon, Dillard assures her —
and he promises to take good care of her.
Hector tries to speak to Annie, but she can no longer hear him. Prince Carpen-
ter appears with his surveyor's measuring tape, promising, '*Gonna be some fine
homes up here." Dillard reminds him, "Always was."
Annie is assured that they can come back if they've forgotten anything.
ANNIE: Oh, I'm comin' back. You sure he's got that in the paper now?
PRINCE: Y' don't have t' worry about that. Private burial ground's protected
by law — we can't touch it. You got a hammer somewhere. Aunt Annie?
ANNIE: Under the bed. Put it back.
Prince withdraws.
DILLARD: You leavin' Pa's tools?
ANNIE: You wanta move 'em? You best lend me y'r arm down the hill. Light's
goin' fast.
DILLARD: Don't you want t' look around?
ANNIE: Honey, there ain't a rock 'r a tree 'r a blade a' grass here I don't know
better'n my own hand. So let's jus' get along. I don't have t' wave.
They go off down the hill. Hector crosses to watch them go. There is
a pause filled only by the sound of the treefrogs. Then Prince comes out
of the house, carrying a placard and a hammer. He has a nail in his
mouth. Coming down the steps, he nails the placard to the porch upright
beside them. Then he goes back up and seats himself in Annie's rocker,
looking out in satisfaction at the view. As he sits rocking, hammer on
knee. Hector comes close and reads the placard aloud.
HECTOR: SOLD. Title to this property. Block 19, Section 27, Rabun County
Tax Roll 1982, resides with the Mountain Development Corporation, Greenville,
South Carolina. TRESPASSERS WILL BE PROSECUTED. (He turns.) Y'
know, all m' life, all m' daddy's life, there wasn't one single "trespasser" come
210 THE BEST PLAYS OF 1982-1983
up that hill we didn't say howdy to, an' offer 'em a httle something. Includin' this
son-of-a-bitch that's got my hammer.
Right on cue, Prince drops the hammer. He looks at it in surprise, picks
it up and takes it back into the house.
Well, like I said, times change. An' the law's the law, I guess, even if I did tickle
it now an' then. "Trespassers." I guess that's me. (He laughs.) Well, they got a
big job a' diggin' t' do t' get rid a' me. (He looks down the hill again. ) She'll be
back.
The light begins to fade, the treefrogs shirr, the whippoorwill calls
far-off once more as Hector stands there looking down the hill. His
figure, outlined against the sweep of the mountains, is the last thing we
see as the lights go to black. Curtain.
ooo
ooo
ooo
ooo
ooo
ooo EXTREMITIES
A Play in Two Acts
BY WILLIAM MASTROSIMONE
Cast and credits appear on page 401
WILLIAM MASTROSIMONE was born in 1947 in Trenton, N.J., where he still
resides. He studied at Tulanefor three and a half years, working toward a biology
major but with increasing doubts that he was on the right track. Agreeing with
Nietzche that "a man should find in his work the joy he found as a child in play, "
Mastrosimone began taking stock of himself and had to admit that he was procras-
tinating from his studies by dipping into Sophocles and Shakespeare. Furthermore,
he remembered that as a child his greatest fun had been to make up dramatic
stories and act them out, sometimes in costume. Mastrosimone finally left Tulane
and set out to write plays. He got his B.A. at Rider College in New Jersey in 1974
and went on to study for his M.F.A. at Rutgers's Mason Gross School of the Arts.
Prior to his first professional production, he wrote, he guesses, about 15 scripts, one
of which — Devil Take the Hindmost — was staged at Rutgers and won the David
Library Award at the 1977 American College Theater Festival.
Mastrosimone's first professional production was the two-character The Wool-
gatherer off Broadway at Circle Repertory Company June 5, 1980 for 92 perfor-
mances (it had previously been staged at Rutgers). That same season his Extremi-
ties was produced at Actors' Theater of Louisville and was cited as one of the year's
outstanding new plays in the American Theater Critics Association review published
in The Best Plays of 1980-81. In off-Broadway production Dec. 22, 1982, Ex-
tremities is now cited as Mastrosimone's first Best Play.
Other Mastrosimone play titles include Shivaree, A Tantalizing and The Un-
derstanding, and he has been working recently on an as yet unreleased motion
"Extremities": by William Mastrosimone. Copyright © 1983 by William Mastrosimone. All rights
reserved. Reprinted by permission of William Morris Agency, Inc. on behalf of the author. See
CAUTION notice on copyright page. All inquiries should be addressed to: William Morris Agency, Inc.,
Attention: George Lane, 1350 Avenue of the Americas, New York, N.Y. 10019.
211
212 THE BEST PLAYS OF 1982-1983
picture. When Extremities appeared in Louisville, it was attended and very favora-
bly received by the Norwegian critic Erik Pierstorff, which led to productions of that
play in Scandinavia. For his newest play, Sciamachies (per Webster Two, ''fights
with a shadow''), Mastrosimone did his research in Afghanistan disguised as a
freedom fighter. Its premiere took place in Bergen, Norway, in March 1983.
The following synopsis of Extremities was prepared by Sally Dixon Wiener.
Time: The present, September
Place: Between Trenton and Princeton, New Jersey, where
the cornfield meets the highway.
ACT I
SYNOPSIS: The set is the living room of a dilapidated farmhouse with furniture
that perhaps was collected at a rummage sale. There is a good-sized fireplace
upstage center, and a locked bicycle is against the wall. A dining table and three
chairs are at stage left, and upstage left stairs lead to other rooms in the house.
A wicker sofa and another table are also in the room, and at stage right there is
a large window with many hanging plants and a door leading to the outside.
Upstage right a door leads to a kitchen, partly in view.
Sunlight is coming through the window as Marjorie enters with a cup and
saucer. A healthy-looking, attractive woman, probably in her late 20s, she is
wearing no makeup and has a short bathrobe on over an abbreviated cotton knit
shift and panties. She is barefoot. She dials the phone and hangs up when no one
answers, waters a wilted plant, then takes it outside. As she hits at a wasp that
is attacking her, the potted plant drops, and the pot breaks. And the wasp has
stung her.
As Marjorie takes an aerosol can of insecticide and proceeds to attack and kill
the wasp, Raul enters. He is a stockily-built man, probably in his early 30s, with
close-cropped dark hair. He says he is looking for someone named Joe. Marjorie
belts her robe and tells him that there is no Joe here. At first it seems that Raul
will leave, but he keeps harping on the subject of Joe (he's forgotten Joe's last
name, but "he said he had a room here"). Marjorie tells him to go.
Raul notices the bicycle, strokes the seat, and Marjorie grows more tense as
she again tries to get him to leave. Raul tells her Joe owes him money, and again
she tells him there is no Joe and that her husband is upstairs asleep, and that he's
a cop. Raul goes on insisting that he left Joe off here last week: "He's about six
two. Rides a Triumph. Red beard. Wears cowboy boots. Short guy."
Marjorie calls out for Tony.
RAUL: Tony! Tony! What's amatter wit him? Maybe he ain't here. Maybe
you're tellin' me a little He, eh, pretty momma? Maybe you think I scare easy.
Susan Sarandon as Marjorie (wielding shovel), James Russo as Raul
(in fireplace) and Deborah Hedwall as Patricia (left) in Extremities
Go 'head. Go for the door. Let's see who's faster. So where's the other two chicks
that live here?
MARJORIE: Kitchen.
RAUL: House full of people, and when you holler, nobody comes.
She bolts for the door; he cuts her off.
MARJORIE: Get OUt!
RAUL: You got a lousy bunch of friends.
MARJORIE: Get out right now!
RAUL: Take it easy, lovely. I saw the other two chicks leave this morning. The
one wit the ratty car should get here about five-thirty. The one wit specs, 'bout
six. Today's gonna be a triple header.
MARJORIE: Get out or I'll call the police.
Long pause. Raul goes to door, looks at Marjorie, laughs, goes to phone,
rips the wire out.
RAUL: Your move.
MARJORIE: I'm expecting people any time now. Any time.
RAUL: No kidding? Dressed like that? Mind if I stick around for the fun? Your
move.
214 THE BEST PLAYS OF 1982-1983
MARJORIE: Don't touch me!
RAUL: Don't fight me. I don't want to hurt you. You're too sweet to hurt. You
smell pretty. Is that your smell or the perfume?
She swipes at him. He catches her hand and kisses it sweetly. She burns
him with the cigarette and tries to escape. He latches onto her hair,
brings her down, mounts her, forces a pillow to her face. We hear her
muffled screams.
You gonna be nice?
MARJORIE (muffled): Yes!
RAUL: You sure?
MARJORIE (muffled): Yes!
RAUL (removing pillow slightly): Please don't wreck it. You made me hurt you,
and I don't want to hurt you, but if you kick and scream and scratch, what else
can I do, eh, babe?
Raul continues to subdue Marjorie with the pillow as she tries to escape again.
She begs him not to kill her. When he smothers her again and she goes limp he
discovers she has freckles. He wants to kiss them all, "give 'em names and kiss
'em all goodnight." He wants her to kiss him nicely and insists she act out a role,
inviting him in and telling him she loves him, and warns her not to make him
do something ugly. He tells her to touch him "down there." Marjorie offers him
jewelry or anything he wants, which only infuriates him further. He wants her
to say that she wants to make love.
RAUL: Say you're my puta.
MARJORIE: Puta?
RAUL: Puta, puta, whore, my whore, my puta! Say it!
MARJORIE: I'm your puta.
RAUL: Say it and smile!
MARJORIE: I'm your puta.
RAUL: You hke to tease me, eh, puta?
MARJORIE: No. Yes. Yes.
RAUL: You like to tease everybody.
MARJORIE: No.
RAUL: Know what you need, puta? You need acouple slashes here and here
and here, stripes t'make you a zebra-face t'scare the shit outta anybody you go
teasin', puta, 'cause you're mine, all mine. Say it!
MARJORIE: Yours!
RAUL: Undo the belt.
MARJORIE: Please! God!
RAUL: Undo it! This is gonna be beautiful, so you keep telling me, puta, and
don't stop . . .
MARJORIE: I love you, I love you
She notices that the aerosol can is almost close enough to reach, and she
continues to tell him she loves him, embracing him to be able to get closer to the
can. She tells him, yes, she put the perfume on just for him, as she takes the can
EXTREMITIES 215
and sprays him on the face and in the eyes. He is screaming with pain as she
attempts to get to the door, but he manages to grab her leg. Still trying to escape,
she pulls an extension cord out of its socket, puts it around his neck and tugs it
tight. As he screams, there is a blackout. We hear the sound of a wasp, or wasps,
which covers the blackout.
As the lights go up, Raul is on the floor, trussed up with an arrangement of
extension cords, clothesline, belts, etc. He is also blindfolded and fighting his
restraints. Marjorie goes to the kitchen sink, splashes her face and the wasp sting
with water and puts the kettle on the stove.
RAUL: You there? My eyes burn! I need a doctor! You there? I'm hurt bad! Help
me! You there?
Marjorie dials the phone.
Call the cops, pussy! You can't prove a fuckin' thing!
Realizing the phone is dead, Marjorie drops it and watches Raul buck.
Why don't you fuckin' answer me! You bitch! I'll kill ya! Get the cops! They gotta
let me go!
Marjorie runs upstairs.
Your Honor, I goes out lookin' for work 'cause I got laid off the car wash, and
I sees this farmhouse and goes t'ask if there was any work 'cause I got three babies
t'feed, and this crazy lady goes and sprays me with this stuff. Your Honor.
Raul taunts Marjorie, pointing out the absence of physical evidence — no
bruises, no telltale biological signs of rape. He calls her by name, bringing her up
short.
MARJORIE: How do you know my name?
RAUL: I demand my rights! I want medical attention! I wanna call my attorney!
Palmieri! The fuckin' best!
MARJORIE: How do you know my name?
RAUL: And when you're alone in the room wit the pigs and tell 'em what
happened, and they say. You sure, sweetheart? They don't believe no pricktease,
Marjorie.
MARJORIE: Don't Say my name.
RAUL: And little Margie gets a little write-up in the paper, and wit Daddy's
heart condition that could be real sweet if the old fucker croaks
They have no case against him — they'll read him his rights and then let him
go, Raul insists. And then he'll come back and knife her when he catches her
alone. '"Marjorie snaps'' — she takes the steaming kettle and dumps boiling water
on him. They both scream, as the lights go to black.
Again the wasp sound covers the blackout, and when the lights go up again
we see Raul caged in the fireplace, still bound, still blindfolded, still with a
restraining cord around his neck. Marjorie has tied and chained the upright part
of an old metal bedstead across the opening of the fireplace to imprison Raul in
the aperture.
By pulling at the noose around his neck, she gets him to reveal that he knows
216 THE BEST PLAYS OF 1982-1983
her name because he has been reading her mail. He took some letters from the
mailbox. Again he uses Joe as an excuse: "Joe asked me come pick up his mail."
Raul has seen letters from Marjorie's father, her brother and someone called Tony
who wants Marjorie to come live with him in New York.
Marjorie wants to know "Why me?" Raul says, "I saw you around." He won't
say where, so she pokes him with a fireplace tool. He says Joe told him if he
walked in and asked for Joe she would know what he meant.
Raul wants to know where he is. Marjorie tells him he's in the fireplace and
that she has some gas and some matches. She shakes a plastic bottle of ammonia
and a box of wooden matches to convince him, still trying to get at the truth. He
gives her another story — he's a narco. She shakes ammonia on him.
RAUL: Hey! What the hell! Hey! I got a wife and three kids!
She strikes a match very near.
MARJORIE: Maybe you'll tell the truth when you're on fire!
Raul coughs uncontrollably. He fights for breath in the chemicalized
air. Marjorie strikes a match, holds it close to his face.
RAUL: All right! This is it! The honest-to-god truth. I don't know why I didn't
tell you this from the beginning because this is it.
Pause.
I used to work on the pothole crew. For the County. We went around patchin'
up potholes. That's why they called us the pothole crew. One day we went around
patchin' up potholes on the highway. In front of your driveway. Bitchin' day. In
the nineties. Working with hot tar. Sweatin'. Thirsty. Gettin' dizzy. Foreman
bustin' balls. Somebody says, look at this. And you come ridin' down the highway
on your bike in your little white shorts, and every time you pedal you could see
what was tan and what wasn't and your blouse tied in a knot and the sun shinin'
off your hair, beautiful. And that's it.
MARJORIE: So you did it because I looked beautiful?
RAUL: I don't know what to fuckin' say.
MARJORIE: You're going to burn.
She strikes a match.
RAUL: That's the truth. It was hot. You had on your little white shorts, and
I wanted to feel beautiful again!
MARJORIE: So what if I was naked!
RAUL: Please! We had a deal! On the milk of Mary! You rode by in your shorts!
I said, "How ya doin'?" You didn't say nothin'. Looked at me like I was a dead
dog. You pissed me off, so I came here to fuck you!
Marjorie stops flicking matches. Raul whimpers and slumps down.
Marjorie sits. Long pause.
Raul asks what she's going to do with him and she tells him "nothing". He
wonders if this means she's going to let him go, but she says not. Marjorie tells
him she can't wait to hear what he'll say after two days without food and water,
lying in his own filth unable to scream. He urges her to call the police, but she
repeats his statement that they would let him go because she has no proof. It's
too late to call in the police. She will bury his body in the graveyard near the
EXTREMITIES 217
woods where she buries animals killed on the highway. This time she'll "dig
deeper".
Raul pleads that he wants to go straight; he will, Marjorie assures him,
"straight into a hole." When her housemates come home (Raul insists) they'll
stop her from killing him. Marjorie assures him that one will help her dig and
the other help drag his body out. She goes for her shovel and then pretends to
leave the room, slamming the door. Raul believes she's gone to dig the hole and
prays to the Virgin for his release, then sings a little song: "Found a peanut/It
was rotten/Ate it anyway just now/Then I died/Went to heaven "He
thrashes around, gags, then falls and lies still. When Marjorie goes to see if he
is all right and loosens the noose a bit, Raul bites her hand. In retaliation, she
pours Clorox over him.
Raul hears a car and prays that it's the police, but Marjorie warns him not to
speak again. It is Terry, one of the two young women with whom Marjorie shares
the house, perhaps a bit younger than Marjorie and slighter in appearance. She
begins to tell Marjorie that she can't help scrape and paint tonight, that she has
a dinner-date. Terry is asking Marjorie if she can borrow a dress when she
discovers Raul. Marjorie tells her of the attempted rape, and that Raul knows
everything about them because he's been watching them. Raul asks for help, but
Marjorie warns him against talking and hits him again. He screams. Terry tries
to calm Marjorie by telling her the police will lock Raul up. Marjorie asks her,
"On what charge?" and Terry says rape — but there was no rape, and attempted
rape is virtually impossible to prove.
MARJORIE: So they let him go and he said he'd come back to get me. So it's
him or me. Him or me. Choose. Him or me.
TERRY: You, you, of course. But I'd rather call the police.
MARJORIE: Do it.
TERRY: It would make me feel safe.
MARJORIE: Then do it.
TERRY: What should I say?
MARJORIE: Whatever makes you feel safe.
TERRY: Phone's dead.
MARJORIE: Animal ripped it out of the wall. I got lucky. If I didn't you
would've come home and found my body . . .
TERRY: Don't talk like that.
MARJORIE: You try and run. He catches you by the hair. Smothers you off and
on till you're too weak to move.
TERRY: All right!
MARJORIE: And then he toys with you. Makes you beg for a breath. Makes you
undo his belt.
TERRY: Stop it!
MARJORIE: Makes you touch him. All over. His mouth. His neck. Between his
legs . . .
TERRY: Why are you doing this to me!
MARJORIE: So it won't happen to you! — Terry, if it happened to you, I'd say,
Terry, tell me what to do.
218 THE BEST PLAYS OF 1982-1983
TERRY: Tell me what to do.
MARJORiE: Be with me.
TERRY: I am with you.
Pause.
What can I do?
MARJORIE: Help me make him disappear.
Terry says they should wait for Patricia, the other housemate, but Marjorie
says they don't need her, they only need the shovel to dig a hole, and that's the
end of it. Terry is horrified, but Marjorie says it's him or us — and if Terry says
so she will let him go, but then if he gets Terry, Terry shouldn't blame her. Terry
decides us. Marjorie instructs her to watch Raul and not leave the room. Then
Marjorie goes oif to dig the hole.
Once assured Marjorie is gone, Raul begins a desperate campaign to elicit help
from Terry, despite her repeatedly telling him not to talk. He tells her his eyes
are killing him, that his Good Humor truck broke down on the highway and he
had just asked to use the phone. He tells her it's called complicity "when you sit
there like an asshole and watch somebody do a crime." And if she's not interested
in what he has to say, would she be interested in what his attorney has to say if
she were in court as a witness? He mentions the name Palmieri, and it is obvious
Terry knows of the attorney's reputation. She doesn't say anything, but pours
herself a glass of wine. He recognizes the sounds and asks for a drink. Again she
tells him to be quiet, and he says he understands. She's doing this for *'good friend
Marjorie."
RAUL: . . . Friends to the ends, eh? You borrow her dress, she borrows your
boyfriend.
Pause.
Tony.
TERRY: What?
RAUL: Forget it.
TERRY: No. What did you say?
RAUL: Oh, you want something from me, but when I ask you for a Httle drink,
you gimme a cup o dust? Get lost, you and your drink.
TERRY: You're a goddam liar.
RAUL: Am I?
TERRY: What'd she say?
RAUL: Don't beheve me. I'm a har. Go believe your good friend out there
diggin' a hole. She's nice. She buries people.
TERRY: What'd she tell you?
RAUL: Look, nobody likes to be the one to bring the bad news.
Pause.
She's fuckin' him.
TERRY: You liar. He doesn't even live around here any more.
RAUL: New York.
Pause.
Photographer.
EXTREMITIES 219
Pause.
She goes to see him every Wednesday. You drop her off the train station.
TERRY: How do you know that?
RAUL: Now she's gonna take you for a ride. Think what you're doin', Terry.
— She get raped? — She got broken bones? — I pinched her ass, she took a freak
and mangled me. — Think, sweetheart, think. — Ever get your ass pinched? —
Course you did. — Did you mangle the guy? — Course not, 'cause you know these
things happen between a man and a woman. — Save yourself Run. Get the cops.
Think, honey, think.
Marjorie comes back; she has cut her foot and needs her shoes. It's shale
underneath where she was digging, and now she's going to dig by the creek. Terry
tells her she is leaving. Marjorie wants to know what Raul said to her and reminds
her that she said she'd help her. Terry lashes out at her: Marjorie didn't get raped,
but Terry got raped once, and it was all her own fault. She was all dressed up
at a Halloween party, had too much beer and some grass and hitchhiked home.
She almost got away, but "a nice guy with glasses" pulled her back by her
ballerina skirt. When she got home her mother cried and her father called her
a whore. They wouldn't let her talk. She made believe it was a bad dream. "You
know what they'd say — I asked for it," she tells Marjorie. "At least we didn't get
hurt. At least we're alive."
There is the sound of a car again, and Patricia, the third housemate, a substan-
tial young woman with a briefcase and a box from a bakery, comes in. When she
becomes aware that there is a man in the fireplace, she laughs and asks what the
joke is. Terry explains that he tried to rape Marjorie. Marjorie assures Patricia
that she's okay, at least she thinks so, and admits it was she alone who got Raul
tied up and into the fireplace.
Patricia wonders where the police are. Didn't Marjorie call them?
MARJORIE: No.
PATRICIA: Why not?
MARJORIE: I'm going to fix him.
PATRICIA: Fix?
MARJORIE: Fix.
RAUL: Don't let her torture me no more!
MARJORIE: Shut the fuck up!
PATRICIA: What are you doing?
MARJORIE: I want him to hurt hke me!
RAUL: Please help me.
PATRICIA: Stop it!
MARJORIE: I want him to hurt Hke me!
PATRICIA: Looks like you've done that. Now we have to put him away.
MARJORIE: I have no proof! They'll let him go! He'll come back and slash up
my face!
Patricia tries to persuade Marjorie that his being on the premises should be
enough to put him away. She is trying very hard to keep everything under control
220 THE BEST PLAYS OF 1982-1983
and wants Terry to go get the police, to tell them to come quickly and take Raul
away. Terry points out that if the police see Raul like that, Marjorie is in trouble.
Terry thinks they'd better get a lawyer for Marjorie's protection before the police
are called in, and Patricia tells her to look in the phone book for Palmieri.
Terry suggests they make up a story, she could say she was with Marjorie, but
Patricia says that's perjury and they will tell the truth. Terry's sure Raul's lawyer
will file countercharges. Again Terry suggests making up a story.
MARJORIE: Police. Charges. Arraignment. Lawyers. Money. Time. Judge. Jury.
Proof. His word against mine. Defendant's attorney — a three-piece button down
summa cum laude fresh from Harvard fuck-off: Did my client rape you? No.
Assualt you? Yes. How? With a pillow. Did you resist? Yes. Evidence? None.
Witnesses? None. Did you tie him up? beat him? lock him in a fireplace? Six months
for me, that animal goes free. And if I survive being locked up, then what do I do?
Come home and lock myself up. Chainlock, boltlock, deadlock. And wait for him.
Hear him in every creak of wood, every mouse in the wall, every twig tapping on the
window. Start from sleep, 4 a.m., see something in the dark at the foot of my bed.
Eyes black holes. Skin speckled gray like a slug. Hit the lights. He's not there. This
time. So then what do I do? Wait for him? Or move three thousand miles, change
my name, unlist my phone, get a dog. I don't want to taste my vomit every time the
doorbell rings. I don't want to flinch when a man touches me. I won't wear a
goddam whistle. I want to live my life. He's never leaving this house.
A pause.
PATRICIA: Marjorie, I think you're in shock and don't know what you're
saying. I'm going to a phone booth and call the police, and everything's going
to be all right.
MARJORIE: I'm not in shock, and more than ever I know exactly what I'm
saying, and you're not going anywhere.
Marjorie picks up Patricia's car keys and refuses to give them to her. Patricia
says they'll walk, but Marjorie warns her that if they leave, Raul will die. Patricia
doesn't beheve she means it, but Raul says she does, and to please not leave him.
From now on she's making her own law, Marjorie says. She locks the door,
and Patricia and Terry sit down. "Mother of God," Raul says, and the lights fade.
Curtain.
ACT II
It is a moment later, and the lights go up quickly. Marjorie is still barricading
the door. Patricia, trying to calm everybody down, suggests they have a drink and
some food and talk. She goes to the kitchen to get some wine and opens a window.
Marjorie tells her to close and lock it, and Marjorie locks the other windows.
Terry wants to go to her room but Marjorie demands she stay. Patricia contin-
ues to be solicitous and seems to calm Marjorie briefly. Then Marjorie begins to
wonder about Terry's date, if he knows where she lives. He does, Terry admits,
but she thinks he would probably call first, rather than come to the house, to see
Deborah Hedwall and Susan Sarandon in a scene from Extremities
why she was standing him up. With the phone broken, Marjorie isn't sure what
he'd hear. Terry thinks a busy signal; Patricia thinks he'd hear nothing. Patricia
adds that she'll call the phone company from work tomorrow, and Marjorie says
they both will have to take tomorrow off from work. They object. It's Patricia's
staff meeting day, and Terry has used up her sick days. She'd be fired. "Then I
could be like you and polish my nails and read glamour magazines all day," she
tells Marjorie.
Marjorie warns Terry that she wants her in the kitchen if her date shows up,
until she can get rid of him. Terry brings food to the table. As they begin to eat
she asks Marjorie what she did in the city yesterday. Marjorie doesn't answer,
and Patricia intervenes, suggesting that for now they just eat. But Raul in his
fireplace prison cell keeps complaining about Marjorie's cruelty to him, arousing
Patricia's sympathy. She tries to bring Raul something to eat, but Marjorie
forbids even "talking to the animal," defying Patricia to come up with an excuse
for him: "So, what's your analysis? Is it his childhood? His environment? His
Greek traumas? Let's hear the dime store psychiatrist explain this sick creep
222 THE BEST PLAYS OF 1982-1983
animal fuck." Marjorie herself is behaving like an animal, Patricia suggests,
declaring "Nobody dies in my house.*'
Patricia and Terry sit down, and when Terry drops a fork, they all jump. When
Raul asks if he can talk to Patricia, Marjorie tells him to be quiet and to not use
anyone's name "as if you knew us." Patricia wants to know what Raul wants,
and what his name is, but Marjorie forbids Raul to say his name. What he wants
is a drink of water; he feels sick: "Bad sick. Dizzy. Headache. My eyes burn bad.
She sprayed that stuff in my mouth," he tells Patricia. Patricia reads the aerosol
can with its warnings. She wants to go get some antidote, atrophine, at a drug
store. Marjorie says no. Patricia warns her it could be fatal, but Marjorie still says
no.
Marjorie rails at Patricia. She is not one of her social worker cases and will not
tolerate her "superior bullshit." Patricia tells her the reahty is that a man is hurt
and she doesn't have a case. Marjorie explains that's why she has a hammer.
Marjorie wants a confession from Raul, in front of both Patricia and Terry, to
protect her from the law.
RAUL: I didn't do nothin'.
PATRICIA: This is your chance to save yourself.
RAUL: I didn't do nothin', Patti.
PATRICIA: She's giving you a chance.
RAUL: Chance for what? Go the wall for a bit I didn't pull? Thanks.
MARJORIE: You tell them what you did to me.
RAUL: Look at her and look at me. Who did what to who?
MARJORIE: Tell them. Please?
RAUL: I wanna call my attorney. I want my rights. This country's got a fuckin'
constitution!
MARJORIE: Tell them how you smothered me.
RAUL: This land got laws, jack, and nobody's above the law!
MARJORIE: You made me touch you!
TERRY: Pat! Do something!
MARJORIE: Tell them. Please. Let's end it.
RAUL: No innocent person's got nothin' to fear in this country. I demand my
fuckin' rights!
Marjorie bangs RauVs hand with the hammer. He screams.
MARJORIE: If you knew what it was like under the pillow, sucking for breath
that wasn't there — further from life than you've ever been . . .
PATRICIA: Tell me — talk about the pillow.
MARJORIE: Talk, hell, let me show you.
Marjorie forces a pillow to Patricia's face.
PATRICIA: Get the hell away from me with that thing!
MARJORIE: This is not a thing! This is a pillow! Let's define our terms!
PATRICIA: It'll all come out in court!
MARJORIE: Before they believe a woman in court, she has to be dead on arrival!
PATRICIA: You are not the law! You are not God! You have to bring it to court!
The three woman continue arguing among themselves, but Marjorie insists that
this matter must be settled between Raul and herself without interference from
EXTREMITIES 223
anyone else. Patricia fears Marjorie is beginning to resemble her attacker. Marjo-
rie agrees emphatically, yes, she'd like to be a survivor. "Don't I count?" Marjorie
asks her. Patricia apologizes and assures Marjorie that they will take the day off
tomorrow and will do the best thing for Marjorie, but Terry says it has nothing
to do with her, she is not taking tomorrow off.
Recognizing Terry's alienation, Patricia wants to get back to the facts. "We got
a man here. He's tied up. He's injured." She defines the problem as a question
of what laws are violated. She asks Marjorie if she has any bruises. The fact that
Raul bit her ("I bit her because she was chokin' me with a wire!") is good evidence
for a court, Patricia says, because it shows. There was an attempted rape, but
Marjorie can't prove it. Then there was torture, which can be proved and could
get Marjorie into a great deal of trouble with the law. That's the crux of the
problem and, Patricia observes, "I do know your lives are joined now. If he goes
under, so do you. If he's kept well, so are you."
The one thing Patricia is sure of is that, at the moment, Marjorie has a choice.
She can use the hammer or not, but if Raul dies, she has no choice. A powerful
witness of Marjorie's humanity would be giving Raul some bread "to absorb the
poison," and she convinces Marjorie to allow this, to help herself. Raul asks that
Patricia feed the bread to him; he says his hand is broken, and Patricia also, after
further argument, gets Marjorie to unlock Raul and to allow her to loosen the
noose. When he gags on the bread, Patricia quickly gets a glass of the wine. Raul
drinks it all, and, thanking her, asks for some of the meat. Marjorie sarcastically
asks him if he wants mustard, and when he asks if there's any mayo she becomes
enraged with him again.
While feeding Raul, Patricia checks his face under the blindfold.
PATRICIA: Oh my God. His face.
RAUL: What?
PATRICIA: Bubbled up. Blood's running out his nose. The ammonia burned his
nose linings.
RAUL: You three are gonna get a snapshot, front and profile, down at the cop
shop, jack.
PATRICIA: I'm going to the drug store. For the atropine.
MARJORIE: For my good, right?
PATRICIA: Why don't you look under the blindfold? Or is that why you covered
it? You can't stand to see the damage you caused? I want that atrophine.
MARJORIE: I'll let Terry go.
TERRY: Where should I go?
MARJORIE: Drug store at the mall.
TERRY: I'm broke.
PATRICIA: I blew my last few bucks on the cheescake. Do you have any money?
MARJORIE: You want me to pay for the animal's medicine?
PATRICIA: Can I borrow it?
MARJORIE: I should've crushed his skull in the first two seconds, had it all
cleaned up by the time you got home and never said a word. But I let myself talk,
and in talk I squandered it. Talk, talk, talk, talk, talk. No phone calls.
TERRY: Alright.
MARJORIE: Say it.
224 THE BEST PLAYS OF 1982-1983
TERRY: No phone calls.
MARJORIE: If you bring the police, I'll do it, Terry, and it'll be just like you
did it. When I see 'em pull up, one hit, he's out, two, he's dead. Two seconds.
That's all it takes. And I'll be watching every second.
Handing her keys and money.
It should take seven minutes to get there, five in the store, seven to get back, even
if you catch the light both ways. I give you one extra minute for the unaccounta-
ble. Seven, plus five, plus seven, plus one . . . Twenty minutes.
PATRICIA: Don't speed. You might get stopped. Get atropine and something
for burns.
As Terry is about to leave, Raul says "Complicity." Marjorie locks the door
after Terry is gone, notes the time, seats herself to wait.
RAUL: Excuse me. Can I say something?
Silence, which he takes as consent.
I want to thank you very much for the bread. And for putting up that money
for my medicine. I think that was very kind of you. Most people wouldn't go that
far. But you went all-out, and I'm all choked up and want to thank you from the
bottom of my heart because it was generous and it was kind and it was nice. So
nice of you. You wouldn't have an extra cigarette, would you? Or maybe one that
was smoked halfway?
MARJORIE: Menthol filter all right?
RAUL: Thank you very much.
MARJORIE: Reach your hand out and I'll give it to you.
RAUL: No thank you. Bad for the lungs.
Lights fade.
It is fifteen minutes later when the lights go up. Patricia asks Marjorie if her
wasp stings hurt. Marjorie shakes her head no. Marjorie has her mind on the time:
it's been seventeen minutes now since Terry left. Patricia asks Marjorie if she
pulled the stinger out, and again she shakes her head no. Patricia exits to get
tweezers.
RAUL: Ain't no stinger in there.
MARJORIE: Says who?
RAUL: Wasps don't leave no stinger. A bee leaves a stinger and croaks. But a
wasp keeps on stingin'.
MARJORIE: How do you know that?
RAUL: I know what I know. A wasp don't sing, a bird don't sting. They're
gonna call you Hammer. And one night them hefty lesbies are gonna test your
mojo, jump you in your roachy piss-smeUin' six by ten, bust your nose, make it
flat, spit your teeth in a toilet bowl, and when bull says get down in the bush.
Hammer jumps in the weeds smokin' dry beaver, cause you're like me, you do
what ya gotta do to keep ahve. And don't holler 'cause them hacks get a sudden
case of deaf cause they don't get involved in petty in-house business. So keep your
ass close to the wall or some cannibal puts a dull screwdriver in your back and
EXTREMITIES 225
nobody hears nothin' when them showers are splashin' and them radios are
blastin' them funky tunes and your blood washin' down the drain reminds you
of once upon a time in a cozy httle house, me and you, to have and to hold,
forever.
Patricia returns with the tweezers, and Marjorie tells her that wasps don't leave
a stinger. Raul suggests rubbing the stings with alcohol. "I mean if we can't help
each other out, what the hell are we on this earth for?" he remarks.
It seems that Marjorie is a stewardess and is supposed to fly tomorrow — Paris,
Rome, Munich, London and return. She doesn't want Patricia to call her in sick
because she needs the money. It's twenty minutes now since Terry left, and
Marjorie believes she has been betrayed. Raul opines that Terry's car needs a
valve job and bets the car broke down. Marjorie prepares to make good her threat.
'^Patricia grabs the hammer. They struggle. Patricia is hurt, " but Raul is spared.
Terry enters with the bag from the drugstore and Marjorie berates her for being
late. Terry, thinking Marjorie has killed Raul, says she's going to tell the police
everything and that Marjorie will go to "the goddam wall." After she realizes that
Marjorie hasn't carried out her threat, she informs Patricia that you can't buy
atropine over the counter. She did not ask them for a substitute antidote because
Patricia hadn't said to do that. She was delayed because she ran into someone
called Sally in the parking lot who wanted to talk about her divorce and wouldn't
let go of her arm. The medicine she has brought is for cuts, not for burns, Patricia
complains, but Patricia will apply it, and she's going to take off* the noose to do
so. "First bread. Then medicine. Now the noose. Why don't you just fuck him.
Maybe that'll make him feel better," Marjorie rages at Patricia.
When his blindfold is removed, the bloody sight makes Terry gasp. Marjorie
drops her hammer. Raul asks if he is ugly. He can't see and says to give him "a
crown of thorns and finish me off"." Patricia hands Marjorie the hammer and asks
her why she doesn't finish what she started. Raul tells Patricia she's a traitor and
says they're all going to burn. In answer to a question from Patricia, he tells her
his name is Mike, Mike Mentiras. Marjorie asks him how many women he's raped
and murdered. She wants him to tell them why he came here. Raul says he came
in to use the phone, and she slaps his raw face, then apologizes. Raul insists that
he came in here to make a phone call and was aroused by the sight of Marjorie
walking around with her robe open and wearing nothing underneath. Raul chal-
lenges Marjorie to tell Patricia about the grave.
PATRICIA: What grave?
RAUL: Oh! I don't hear Marjorie talkin' now! — Terry comes home, and they
decide to dig a grave in the garden and bury me!
PATRICIA: Is that true?
RAUL: Between the tomatoes and the flowers! with the possums and the dogs!
A fuckin' grave!
PATRICIA: That can't be true!
RAUL: Don't believe me. Let the grave talk!
PATRICIA: Is there a grave out there?
TERRY: Ask her.
226 THE BEST PLAYS OF 1982-1983
PATRICIA: I'm asking you! The one who wanted to make up a story!
TERRY: I didn't dig it!
RAUL: See! See! Bury me alive, Patti! Alive! Whacko and Terry!
TERRY: All's I did was watch him! Marjorie said she would drag him out, throw
him in and cover it herselfl
PATRICIA: Did you get enough justice today? Two eyes enough? Burn a man
alive? Is that savage enough?
MARJORIE: Not as savage as a human roach forcing your legs apart!
Raul asks her why he would do that, that he has sex at home, Marjorie says
she thought his wife was dead. Raul says, "My first wife." Marjorie tells the other
women Raul has stolen their mail.
PATRICIA: Leave the man alone! Can't you see he's in pain?
RAUL: Don't say one bad thing about Marjorie. We're all human. We're weak.
We do things we don't mean, and I forgive her everything. All I wanted was a
kind word, a little closeness, to forget my troubles; all she wanted was to forget
about some guy in New York. Tony.
MARJORIE: Tony wrote to me and animal took one of the letters.
TERRY: He wrote you?
MARJORIE: I never answered.
TERRY: Why didn't you tell me?
MARJORIE: I didn't want to hurt you.
TERRY: Is that why he came here when he knew I was at work?
MARJORIE: Terry, please believe me.
TERRY: Is that why you changed from jeans to bathrobe when I brought him
here?
MARJORIE: I must've been ready for bed.
TERRY: You're always ready for bed!
Patricia backs her up and accuses Marjorie of parading around the house like
"it was a centerfold," unhappy until she has every man in the room begging for
it — and when one did, she wants to get him. She says Marjorie goes through men
"like most women go through kleenex" and then complains after being provoca-
tive.
Patricia opens Raul's jacket. There is a hunting knife, sheathed, hanging from
a leather thong. Marjorie takes it and lays it flat on Raul's shoulder. He explains
that he uses it for work, for cutting boxes open in a warehouse. Marjorie com-
ments that it's very sharp, "The kind of knife they use to gut a deer," and she
puts the knife under his chin, asking him where he would like her to touch him.
Then she says, finally, that she remembers.
MARJORIE: Down there!
Putting the blade in RauVs crotch and lifting him off the chair an
eighth of an inch. Pause.
Tell me you love it. Say it!
RAUL: I love it.
EXTREMITIES 227
MARJORIE: Say it nice.
RAUL: I love it.
MARJORIE: Say it sweet.
RAUL: I love it . . .
MARJORIE: Sweeter!
RAUL: I love it.
MARJORIE: You say that beautiful. Again.
RAUL: I love it.
MARJORIE: Now tell me cut 'em off.
RAUL: I can't say that!
MARJORIE: This is your last chance.
RAUL: You can't make me say that!
MARJORIE: Say it!
RAUL: Mother of God! I stole letters! Watched the house! Came here to fuck
yous all!
MARJORIE: Who!
RAUL: You and Terry and Patti, like Paula Wyshneski and Linda Martinex,
Debbie Parks and some I forget. They screamed. I begged 'em not to scream. I
hate when they scream.
Marjorie runs a stiff hand across RauVs throat. Thinking himself
slashed, he writhes on the floor.
Mother of God!
Realizing he's not slashed.
Thank you.
Pause.
Every time I do it, it's in the papers, and I gets up in the morning, and my wife
and her mother they're talkin' about it, and I says, what happened? And they
says, the raper got another girl last night, and they show me the paper and a
picture of the dude somebody saw runnin' away, but it don't look nothin' like me.
And my wife says, fix the back door, Raul, cause I don't want no raper comin'
in here, and I says, don't worry, he don't want you, and she bitches, and I fix
the door real good so the raper can't get in.
Pause.
Tell 'em lock me in a room. Not with locks. I know about locks. I can pick 'em.
A room with nobody else. And maybe if I could have a little radio so's I could
listen the ball game so it won't be so quiet, because I hate the quiet, because the
dark, I don't care, but the quiet, please don't let it be quiet.
Patricia now agrees that she should go out and find somebody to help them
cope with Raul. Marjorie suggests Terry keep her company. Terry asks Marjorie
if she won't be afraid, and Marjorie says no. Patricia wonders what they should
say, and Marjorie says to tell them a man is hurt, a man needs help. Raul asks
if he can say Marjorie's name. She says yes, and he asks a favor — no red lights
and no siren. When Patricia and Terry exit, Raul hears the door close.
RAUL: You there?
MARJORIE: YeS.
228 THE BEST PLAYS OF 1982-1983
RAUL: Thank you. Don't leave me alone?
MARJORIE: I'm right here.
RAUL: Thank you. They comin'?
MARJORIE: Yes.
RAUL: Don't let 'em beat me?
MARJORIE: No.
RAUL: Thank you very much. You there?
MARJORIE: Yes.
RAUL: Marjorie?
MARJORIE: Yes?
RAUL: Can I wait in the fireplace?
MARJORIE: If you want.
RAUL: Thank you.
Getting to his knees.
Show me.
Marjorie puts the knife down, directs him to the mouth of the fireplace.
He crouches inside Lights fade slowly.
Thank you. Thank you very much.
He rocks slightly. Almost imperceptibly he sings slowly, Marjorie weeps.
Found a peanut
Found a peanut
Found a peanut just now
Just now I found a peanut
Found a peanut just now
Cracked it open
Cracked it open
Cracked it open just now . . .
Lights fade to darkness. Curtain.
ooo
ooo
ooo
ooo
ooo
ooo QUARTERMAINE'S TERMS
A Play in Two Acts
BY SIMON GRAY
Cast and credits appear on page 403
I
SIMON GRA Y was bom on Hayling Island, Hampshire, in 1936 and was educated
at Portsmouth Grammar and Westminster Schools and at universities in Canada
and France before going to Cambridge, where he majored in English. His produced
plays include Wise Child, done in London in 1967 starring Alec Guinness and on
Broadway in 1972 starring Donald Pleasence; Dutch Uncle (London, 1969); an
adaptation o/The Idiot /or the National Theater (1971); Spoiled (London, 1971);
Butley starring Alan Bates (London, 1971, Broadway 1972, a Best Play); Other-
wise Engaged (London 1975, Broadway 1977, a Best Play and the Critics Award
winner); Dog Days (Oxford Playhouse, 1976); Molly (London 1977, off off Broad-
way 1978); The Rear Column (London 1978, off Broadway 1978); Close of Play
(National Theater 1979, off Broadway 1981); and Stage Struck (London 1979).
Gray's third Best Play, Quartermaine's Terms, was first produced in London in
1981. It arrived off Broadway on Feb. 24 in the Long Wharf Theater production
after playing at that New Haven, Conn, establishment in December and January.
Gray is also the author of a number of novels and TV plays including Death of
a Teddy Bear, /or which he won the Writers' Guild Award. He is married and now
lectures in English literature at Queen Mary College in London.
Simon Gray's Quartermaine's Terms (the script of which will not be synopsized
here) is a worthy successor to its author's other two Best Plays, Butley and
Otherwise Engaged. Also like them, it puts forward a central character whose most
conspicuous trait is his failure (as in Butley), or refusal (as in Otherwise Engaged),
or inability (as in Quartermaine's Terms) to maintain connections with the world
around him. As expressed in an understated style of contemporary play writing also
practised with great success by Harold Pinter, this mysterious detachment pro-
duces an emotional tension within the most mundane events in all three plays.
229
Remak Ramsay as St. John Quartermaine and John Cun-
ningham as Henry Windscape in Quartermaine' s Terms
QUARTERMAINE'S TERMS 231
In Butley, as we reported ten years ago in The Best Plays of 1972-73, the title
role (played by Alan Bates in that season's best performance by an actor) is that
of a college professor whose will has been eaten away by sexual dissatisfaction
and academic disillusionment long before the play begins. What we see onstage
is the day the whole structure of his life collapses. The younger man who has been
sharing his office, his apartment and his life goes off with another, more solid
companion; his ex-wife has decided to marry a rival professor whom he considers
a clown and a clod; he cannot seem to relate to his students or perform his duties.
He is unable to cope with reality even physically — he cannot pick up an object
from his desk without dropping it, and he has even cut himself shaving. Finally
he has nothing left except the intellectual prop of quoting nursery rhymes as
though they contained the wisdom and poetry of the ages (which perhaps they
do, but they are of little help to Butley). In the hollowed-out, helpless state in
which we find him, the simplest procedure, such as a routine conference with a
student, becomes a disaster of the spirit for Butley.
In Gray's Otherwise Engaged, the 1976-77 New York Drama Critics Circle
best-of-bests winner, the other-worldly protagonist is called Simon Hench.
Hench's detachment is more of a defense against life than a drowning in it — but
by the time the play begins, Hench has reached the point, willingly or no, where
he could no longer come back into the world even if he wanted to. As we noted
in the 1976-77 Best Plays volume, he shines with a high intellectual gloss while
underneath he is either an empty but impenetrable shell or an immovably solid
object (and a close look at the play didn't necessarily determine which). Hench
(played by Tom Courtenay in a production which, like Butley, was directed by
Harold Pinter) is at the center of a gathering storm of relationships with friends
and family — the calm center, where he can blot out the cries of human pain by
putting another record on his player. He insists on maintaining a cool, rational
detachment when others expect heated involvement, and therefore he is "other-
wise engaged," increasingly incapable or unwilling to share in others' lives or to
permit others a share in his. Certainly Hench's wound is arrogantly self-inflicted,
where Butley's has festered from a personality weakness — but it is the same
wound, crippling both with alienation.
St. John Quartermaine of Quartermaine's Terms is the opposite of arrogant and
suffers from no evident trauma but is equally detachable from the circumstances
in which the author places him. We first see Quartermaine taking his ease in the
faculty room of the school which he has served from its beginning, apparently
a comfortable member of a well-defined, close-knit group — and then we watch
him being slowly torn from this environment and discarded like an irrelevant page
in a notebook. If the connections Butley was able to maintain destroyed him; if
Hench did everything possible to avoid connections, Quartermaine (played in
various keys of apology by Remak Ramsay) does everything he can to keep
physical and emotional contact with the only outside world he knows. His efforts
are obvious, unceasing, pathetic, courteous — and failing, as his colleagues put
him at further and further distance, like a herd of animals shrinking from a dying
member. Quartermaine is going to suffer the same wound as Butley and Hench,
and in his case it will be as near mortal as makes no difference.
Quartermaine's "terms" are school terms in the Cull-Loomis School of English
232 THE BEST PLAYS OF 1982-1983
for Foreigners in Cambridge, England. Early on a Monday morning at the
beginning of a spring term in the 1960s, the staff room is furnished with arm-
chairs, a table and a row of lockers and is accessible by a door to the school's
hallway and French windows to the outdoors. Quartermaine too seems to be a
fixed part of the room (in due course we learn that he is a bachelor and an
ex-Cantabridgian, raised in the home of an aunt). Anita Manchip, a fellow
teacher, joins Quartermaine and apologizes for cancelling a dinner party the
previous night because her husband had a business meeting. "Oh Lord," Quarter-
maine exclaims, he doesn't mind (he will repeat this same bland exclamation to
punctuate every occurrence, major and minor). And even when Anita inadvert-
ently lets out that they gave the dinner party after putting him off, he still doesn't
mind. He spent the evening happily baby-sitting for another colleague. He was
obligingly available, just as he is obligingly unresentful at having been left out.
At this point, his inveterate willingness might possibly be mistaken for simple
good fellowship.
Other colleagues who drift in and out of the faculty room are Mark Sackling,
who is preoccupied with writing a novel and whose wife has just left him, taking
both their son and their automobile; Eddie Loomis, the co-principal, questioning
Quartermaine about a former student whom Quartermaine should but does not
clearly remember and reminding Quartermaine that a new part-time teacher is
expected imminently; the latter, Derek Meadle, who arrives in torn trousers
following a minor bicycle collision; Henry Windscape, with whose children Quar-
termaine was sitting; and Melanie Garth, whose mother, a once illustrious Cam-
bridge professor, is recovering from a stroke.
After welcoming Meadle, who remains acutely embarrassed by the tear in his
trousers, Loomis tells the others of the school's growing reputation and enroll-
ment. While he is reminding them all that this may call for increased effort and
commitment, Sackling, who has spent a sleepless weekend, keels over in a faint.
"Oh Lord! Oh Lord!" exclaims Quartermaine, making moves to cover Sackling
with his jacket and phone for an ambulance — both of which actions are quickly
accomplished by others before Quartermaine is able to carry them out, almost as
though Quartermaine were not really present.
Some weeks later, just before 5 o'clock on a sunny Friday afternoon, Quarter-
maine is looking forward to a weekend visit to the theater (a Strindberg or an
Ibsen, he can't remember which). He confesses to Loomis that he let his class out
early from a special lecture with slides (a program especially favored by the other
co-principal, Thomas Cull, who never appears onstage) because he couldn't
manage the new projector — and his class wasn't well attended, anyway. It's
almost as though Quartermaine were beginning to lose contact with his pupils:
either he is withdrawing from them, or they from him, or both.
All the others (including Anita, who's in distress just now because her husband
is having an affair) beg off from Quartermaine's invitation to accompany him to
the theater. Sackling makes good his escape before Quartermaine can pin him
down to a weekend luncheon date. Windscape's croquet group out on the lawn
are just finishing their game and don't intend to start another. Having let out his
class early, and unable to join any of his colleagues in activity or conversation
or weekend plans, Quartermaine departs. Finally, when everyone has left the staff
Remak Ramsay, Caroline Lagerfelt and Roy Poole in Quartermaine's Terms
room, Quartermaine returns and stands alone. At this point — the end of Act I
— it is obvious that his alienation from the people and purposes of the Cull-
Loomis school is well advanced. But Quartermaine has nowhere else to go.
A year later on a Monday morning at the beginning of summer, the gap is
widening as the members of the faculty drift in and out discussing their adven-
tures during the holiday week they've all just enjoyed (Quartermaine of course
stayed home). Their careers seem to be steadily progressing. Sackling is pleased
with the way his novel is going. Meadle is ready to ask to be made a full-fledged
member of the staif instead of just a part-timer (but when he does, he is actually
cut back, as the school is now economizing after a drop in enrollment).
Quartermaine, on the other hand, has been finding it more and more difficult
to manage his pupils. He can hardly distinguish their individual faces or names,
and he has been known to sit for the entire class hour without speaking. His
response to his friends' emotional and/or professional problems is now expressed
exclusively in the form of bland cliches, and in exchange his friends now give only
the minimum polite notice of his presence or his part in any conversation. He
watches while Loomis enters the staff room and harangues the faculty on the
subject of increasing efficiency in order to reduce costs, but when the bell rings
for class he finds himself trying to figure out which subject he's supposed to be
teaching now. We know in what direction Quartermaine is headed, and we are
witnessing acceleration in the rate of his decline.
Months later on a Friday evening, ironically, Quartermaine is invited to two
dinner parties (by Sackling and Meadle) on the same evening but has previously
accepted Melanie's invitation to attend a revivalist meeting, and he goes off" with
her. Loomis informs the others that Quartermaine didn't bother to show up for
234 THE BEST PLAYS OF 1982-1983
his last class this afternoon. He has obviously become an administrative problem
for the school, but they can't just chuck him out to fend for himself.
A year and a half later, around Christmas, the faculty are all present when
Loomis comes to tell them that the expected death of co-principal Thomas Cull
has just taken place. Loomis has no desire to stay on without his friend, but the
school is to continue with Windscape as principal.
Windscape asks Quartermaine (who is dressed in a dinner jacket, not because
he is going anywhere, but because he was trying it on when he was summoned)
to remain behind after the others leave. Carefully but firmly, Windscape tells
Quartermaine that there will no longer be any place for him here at the school
under the new circumstances. Quartermaine admits that he hasn't been fulfilling
his duties, and his manner is apologetic as he asks Windscape's permission to stay
here in this room for a few minutes to collect his thoughts. Windscape leaves.
Quartermaine sits in his accustomed chair, as the play ends.
And so ends Quartermaine's world — not with a bang or a whimper, but with
another mechanical "Oh Lord!" His alienation from his only possible association
is now complete. It had begun long before the play's events, during which Quar-
termaine may usually have been conscious of the relationships and stresses ex-
perienced by those around him, but nothing in them really affected or touched
him — not Anita's troubled marriage, Sackling's novel, Loomis's attachment to
the invisible Thomas, Meadle's strivings, Windscape's measured observations or
Melanie's distressed and distressing mother.
The roots of Quartermaine's detachment from reality were never exposed by
the author of Quartermaine's Terms, any more than he made them explicit in
either Butley or Otherwise Engaged, Despite Quartermaine's frequent lapses of
concentration, it wasn't creeping senility that slowly strangled his personality.
Perhaps the author meant to imply an early-implanted fear of commitment,
disguised as overreaction to every kind of personal contact and overeagerness to
please in small ways. Here's how some of the leading reviewers figured Quarter-
maine and his plight in their published reviews:
"The central character, St. John Quartermaine is not merely absent-
minded, he is absent. He is almost saintly in his simplicity and in his desire to
be of service. Naturally, he is as expendable as a sacrificial lamb" — Mel Gussow,
WQXR.
"With his tall posture, cheery disposition and unfailing good manners, he
epitomizes the well-bred English gentleman. But Quartermaine is all manners and
no substance: he is an anachronism carried through life by sheer inertia" — Frank
Rich, New York Times.
"He is a poignant victim of a Ufe he never really lived His despair is
absolutely bewitching. You watch his very reticence as if it was heroic — which,
in a sense I suppose it is. Playwright, director and actor combine here to let the
character be tonguetied into eloquence" — Clive Barnes, New York Post.
"What of his gift for reinterpreting slights, slaps and catastrophes as
footling stumbling-stones to be serenely risen above — if not, indeed, blessings in
disguise? By lifting myopic meliorism to the level of quixotic magnanimity,
Quartermaine, though no Cambridge Don, becomes a sort of greater, Cervantian,
Don" — John Simon, New York Magazine.
I
\
QUARTERMAINE'S TERMS 235
"He is losing himself, shrinking into a stupor of nonexistence that's both
hilarious and terrifying. Quartermaine and his colleagues are Gray's metaphor for
a Britain atrophying into spiritual noodledom" — Jack Kroll, Newsweek.
"St. John Quartermaine is not so much obtuse as simply too good-hearted to
suspect the infidelities, rivalries and submerged relationships that swirl around
him Quartermaine's astigmatic observation prevents him from knowing of
the comparable sorrows of others" — Allan Wallach, Newsday.
"In so many of Simon Gray's other plays we have watched men fall apart,
many times through controllable self-destruction. Quartermaine's final fall is such
a quiet one, so very touchingly sad, that true tragedy ... as well as incredible
wit ... is with us" — William A. Raidy, Newark Star-Ledger.
" 'Alienated' is too weak a word to describe British playwright Simon Gray's
latest hero. St. John Quartermaine is downright disconnected" — Jacques le Sourd
in the Gannett Newspapers.
In any case, as portrayed with unwavering skill by Remak Ramsay in this
season's ofF-Broadway production, Quartermaine is a pitiable shred of humanity,
much less forbidding and therefore much more likeable than either Butley or
Hench, but sharing a similar fate in a third Best Play from Simon Gray.
Jeffrey De Munn as Taylor (on rope, above) climbs the spectacular ice wall designed by
Ming Cho Lee, with Jay Patterson as Harold looking on, in a scene from K2
ooo
ooo
ooo
ooo
ooo
ooo K2
A Play in One Act
BY PATRICK MEYERS
Cast and credits appear on page 355
PATRICK MEYERS was born in Phoenix, Ariz, in July 1947, the son of a
professional gambler. He was educated at Colorado State University and Merritt
College in Oakland, Calif, receiving an arts degree in 1972. He became an actor,
and in 1973 ''just for the fun of it'' he wrote a play, Feedlot, then put it in a drawer.
A few years later, an actor friend happened to see it, asked to read it and insisted
on letting others see it. It was produced at the Berkeley, Calif Stage Company, and
then off Broadway in October 1977 for 49 performances by Circle Repertory
Company. His second play. An Actor Repairs, was first done at Laney College in
Oakland in 1977. His third, Glorious Morning, was produced in October 1978 for
29 performances by Circle Rep. His fourth, K2, named after a Himalayan peak,
was first produced in 1982 at Theater by the Sea, Portsmouth, \.H., with produc-
tions immediately afterward at Arena Stage in Washington, D.C. and Syracuse,
-V. Y. Stage, followed by its Broadway debut March 30, 1983 and its author's first
Best Play citation.
Meyers has been a recipient of a Spingold Foundation grant and has been a play-
wright-in-residence at Circle Rep since 1978. He is married and lives in Oakland.
Place: A ledge at 27,000 feet, 1,250 feet below the summit
of K2, the world's second highest mountain
SYNOPSIS: The house hghts dim as though a sudden gust of wind (which we
hear) was blowing them out, while the haunting sound of a Japanese flute is heard.
"K2": by Patrick Meyers. Copynght g 1980, 1982. 1983 by Patnck Meyers Repnnted by permission
of the Helen Merrill Agency See caution notice on copynght page. All inquines should be addressed
to the author's representative: Helen Memll, 337 West 22nd Street. New York, N.Y. 10011.
237
238 THE BEST PLAYS OF 1982-1983
There in blue moonlight is a huge ice wall soaring past the very top of the
proscenium and obviously plunging for thousands of feet below a ledge which cuts
across it a few feet above stage level. After a distant rumble is heard, snow drifts
down the face of the ice onto the ledge.
''Slowly, in a rainbow of colors, the dawn breaks on the icy crystal face. Finally,
bright yellow rays cut across the ledge, spreading slowly over the entire wall. There
is a beat of complete stillness, and then slowly the mound of snow on the ledge
begins to move and break up. A man's head, then torso rises from the mound.''
It is Taylor, laughing to see the sun, then digging into the mound next to him
to uncover his teammate, Harold. Taylor shouts at Harold and shakes him out
of his torpor. Almost gleefully, Taylor digs their equipment from the snow, while
reminding Harold that their place in mountain-climbing history — second place
among climbers after having conquered the 27,000 feet of K2 — is now secure.
Taylor finds their oxygen cylinder, reviving Harold by making him breathe
some of it, taking a few restorative whiffs himself while estimating that they have
about three hours before it is likely to start snowing again. And the other mem-
bers of their team must know they are in trouble now (Harold has injured his leg)
and will come partway up to help them.
Taylor delicately peels back the heavy woolen sock from Harold's leg
and pulls the leg of the suit open. We can see that the leg is badly
broken.
TAYLOR: . . . Holy shit ... we gotta get off this fuckin' mountain.
HAROLD: Stupid.
Taylor puts the sock back on, then the overboot, and zips the pant leg
up again, talking rapidly while he works.
TAYLOR: Can't do anything for it now. Have to get you off fast as possible. They
might be able to save it. The quicker we get to base, better chance you've got.
So just hang in there . . . Harold . . . just hang in there ... all right?
HAROLD: I'm O.K. It's just stupid. I should have known you were still on the
rope.
TAYLOR: What the hell's it matter now? Right now we got to get off this
mountain. Right?
HAROLD: Right.
Taylor takes stock of their equipment. They have water and sun screen. In
Harold's pack Taylor finds 120 feet of rope, one ice hammer (Taylor threw his
away), nylon tubing for a sling, two meat bars. Checking out his own pack, Taylor
finds ice screws, then utters a great cry as he finds that he has forgotten to include
his backup rope. The discovery of this omission nearly throws him (he requires
a whiff of oxygen to recover), but Harold calms him down, reminding him to put
on sun screen and check the rest of the pack. It seems they have enough "beaners"
to lower Harold in a sling, but '^Unfortunately we don't have half the rope we
need to run through the httle buggers." Harold thinks maybe he could make it
straight down on the single strand of rope, but Taylor knows he couldn't.
In spite of the fact that Taylor has a sore shoulder because Harold landed on
K2 239
it with his crampons in the accident, Taylor knows that he must cHmb back up
the mountain to retrieve the rope they left there, if Harold is to be lowered in a
sling (and there's no other way he can get down and survive). Harold protests
that Taylor can't make it, they're both half frozen, but Taylor roars at him that
there's no other way.
TAYLOR: We've got one one-hundred-and-twenty-foot rope. The wall we
are on is six hundred feet if it is a fucking inch! WE are maybe half way down
it ... if we are lucky. We couldn't have fallen more than twenty, twenty-five feet
to this ledge. We'd've bounced right off the motherfucker if it'd been any farther
than that. That's three hundred feet to go — one more ledge if we're lucky! The
rope will be doubled, using a beaner as a pulley for the sling . . . one one-hundred-
and-twenty-foot rope will become just sixty feet long. One ledge, Harold, if that
. . . We need two ropes to be in striking distance of that ledge. God help us if
it's not there. Do you understand now, Harold? Do you understand?
We hear the wind. Taylor looks up, then down at the ledge they are on.
HAROLD: I thought you had a ledge. I thought you were off the rope. I couldn't
see you in the snow. There wasn't any tension!
TAYLOR: I had a crack. I was takin' a little breather. You should've called down
to me.
HAROLD: ... I knOW.
TAYLOR: Wait a minute . . . Harold . . . what would you say the odds are of
two climbers on a six-hundred-foot, ninety degree ice wall coming off their rope
. . . and then surviving the night with a temperature somewhere between forty
and fifty degrees below zero in nothing but Emergency High Altitude suits,
overboots and a couple of fucking ponchos . . . what would you say the odds are
of that happening?
HAROLD: No odds — too improbable.
TAYLOR: No odds . . . no odds. I'm goin' up there and get the rope. With the
luck we've had so far, I may dance up the son of a bitch.
Taylor is going to climb until he can grasp the discarded rope and pull it free.
He tests the ice wall, finds a likely area to make a traverse and starts up, asking
Harold to talk to him while he does so. Harold makes up a tale about a cyclops
with a glass eye, starting them both laughing. Then at Taylor's request he explains
(as Taylor is crossing the face of the ice) how he first got interested in physics
in the seventh grade. The American educational system of cramming facts and
hoping for the best was doing little for him until he came across a textbook
explaining Albert Einstein's Unified Field Theory. With it, Harold found "A
believable God. A fluid, flexible, mutable, ever changing, always constant God.
God, as a subatomic intelligence that pervades, is the very core of the physical
universe. A God forever exploring all the possibilities of existence ... A God with
the balls to hoist the mainsail and head for infinity!"
But later, in college, Einstein's theory failed Harold in confrontation with
quantum mechanics — "a branch of physics that deals with physical phenomena
that do not adhere to the main law of physical science." In his disillusionment,
Harold became a bum and a drug user (he tells Taylor, as Taylor disappears above
240 THE BEST PLAYS OF 1982-1983
him but remains a physical presence because Harold is holding and paying out
the end of the safety rope which Taylor is passing through the fasteners as he
climbs the mountain). But then Harold discovered blind faith — '*blind faith was
the plain wrapper that carried the supreme intelligence, the cosmic glue" — that
put him back on the right track. He went back to college and earned his Ph.D.
Suddenly Taylor's cry "I got it!" comes from above. He has reached the
discarded rope and is trying to pull it loose, but finds he can't.
TAYLOR: COME ON YOU BASTARD!!! COME ON!!!
A few chunks of ice fall past Harold.
Oh my God ... oh my God . . . TENSION!
Harold quickly tightens the rope.
Just relax . . . it's okay ... it doesn't matter.
HAROLD: Are you all right?
TAYLOR: Yes . . . I'm just fine . . . I'm just fine . . . and I'm coming down slowly
. . . I'm coming slowly down . . . slowly down . . . slowly. A journey of a thousand
miles begins with one step . . . one small step for mankind ... a giant step for
man . . .
We can see Taylor again. He is moving carefully down. He has snapped
the rope through a carabiner at his highest point, and Harold is paying
out rope, slowly lowering him as he climbs back down the wall. He stops
at the ice screw and unsnaps the rope from it.
A horrible thing ... a temper ... a horrible thing. Only thing it's good for is
P.D.s and scum . . . Hell hath no fury like an assistant D.A. . . . Maybe it's my
Italian blood ... all that tomato sauce. Yeah, it's gotta be the tomato sauce. You
know how most families have orange juice for breakfast? We had tomato sauce
. . . nice big glass of tomato sauce in the morning . . . you ever take a good look
at a tomato? Nasty little fruit . . . yeah, it's gotta be the tomato sauce . . . funny
the things you talk about when you're about to die
He reaches the ledge and drops the carabiner and ice screw next to
Harold, who places them on the ledge. Taylor vomits.
Oh God . . . she's a bitch ... a nut bustin' bitch.
Harold has a suggestion: Taylor could make a descent alone on the rope they've
got, secured at this ledge; then when Taylor reaches the end of it, Harold could
let this end of the rope go, so that Taylor could reach the bottom of the ice wall
and go for help. Taylor rejects this course of action as impossible. They only have
a couple of hours until the snow flies again, and Taylor couldn't do it in that time,
even if he were sure that the others were coming up to meet him. Instead, Taylor
informs him, "We wait a little longer — say another half an hour, and let the sun
work on the ice — and then I go back up and try the rope again."
Harold doesn't think this will work. Angrily, Taylor declares that Harold will
die if he has to spend another night up here. Harold replies in anger, but Taylor
refuses to give up.
TAYLOR: I haven't lost faith — you know, that crap you were goin' on
about while I was on the wall — I still have faith in my ability to face this challenge
K2 241
and win . . . and winning means getting me and what I care about off this wall
... I was just making a little joke when I referred to dying. It was a joke. I didn't
realize you were so sensitive about the subject. I apologize.
HAROLD: I'm not so sensitive ... I think about it quite often, as a matter of
fact. More than you do, I think.
TAYLOR: I doubt that, Harold. Death is my job, it's what I'm paid for. (Pause.)
Every day I go into court and put at least a couple of lousy scum on ice. I salt
their tails for two, five, ten, twenty years at a whack, Harold. You have any idea
the kind of dent twenty years of prison puts in a man's life? Usually I don't get
to kill 'em all at once, but I take chunks out of the fuckin' scum, I take as big
a chunk as I can get . . . and I think about it all the time.
HAROLD: I never realized you were so . . . possessed.
TAYLOR: Possessed? Yeah. Well ... I try to keep it to myself I know I wouldn't
get much sympathy from our hip young friends Listen, Harold, you don't
know what's goin' on down there all around you every day, every night — while
you sleep, make love with Cindy, eat Chinese food, play with atoms at Lawrence
Radiation Center. All around you all the time, you don't know, buddy. Sure you
read about some of it in the papers, selected atrocities for your viewing pleasure
all a ya, sittin' around bitchin' about crime in the neighborhood and social
injustice all in the same breath. Christ, if you guys had any idea of what's really
goin' on out there under your fuckin' noses, you'd be so damn scared you'd shit
and die . . . there's a war goin' on down there — and the barbarians are winning!
They're kickin' our civihzed asses all over the streets
Taylor claims that 90 per cent of the crimes he prosecutes are committed by
members of minorities; Harold attributes this to racism in society. Taylor
argues that liberal humanitarianism has produced "a black male, average age
thirteen to twenty-five, average weight one hundred and thirty to two hundred
and twenty pounds, who has the reflexes of a rattler, the strength of a rhino and
the compassion of a pit bull. He can rip off you and your grandma before you
can count to one That's what you get when you take away somebody's
dignity and try to make it up to 'em by givin' 'em a free bag of groceries and
a place to sleep." It's Taylor's job — which he does extremely well — to serve
Harold by sending these criminals to jail, to "clean up after all you Pollyanna
jerks."
No, it's not for the benefit of the likes of Harold (Harold argues forcefully),
it's to protect the world of the gizmo, the "zillion different little gadgets to keep
your mind off the fact that it's all getting tooo big tooo fast," manufactured and
distributed around the whole world. And man has finally developed a bomb —
the neutron bomb — that will blow away all the people without damaging any of
the gizmos. Harold tells Taylor, "Listen big boy, we can drop you in your tracks
without so much as altering the flesh tones on your Sony Trinitron . . . THAT'S
REAL . . . the culmination of Gizmo Madness."
Compared to the gizmo problem, Taylor's efforts hardly matter. Harold calls
Taylor "a romantic the Clint Eastwood of mountain climbing" for believing
he can pull loose a rope attached to two screws set in solid ice, while clinging
precariously to the cliff face. Taylor is determined to try, however, and he accepts
Jeffrey De Munn (left in both photos) and Jay Patterson,
philosophical (above) and panicking (below) in scenes from K2
K2 243
Harold's suggestion that he take the nylon tubing with him, attach it to the rope
and let it down so the two of them can pull together.
Taylor returns to the ice face and climbs, with Harold helping by hauling on
the rope from his supine position, while continuing his monologue where he left
off at "blind faith." He proceeded to fall in love with Cindy, who soon bore him
a son, Eric, though mother and child nearly perished in the process. Harold
admits that he finally resorted to prayer to pull them through. God answered
Harold by giving him a sense of eternal spiritual union with his wife and son: "I
was in my wife and in my son and I would never leave them ever ever ever."
Meanwhile, Taylor has reached the discarded rope, tied the nylon tubing to it
and returned to the ledge. The two men take in some oxygen and eat the meat
bars to gain strength, while Taylor confesses he couldn't establish a loving rela-
tionship with a woman — his affairs are more like battles. Of course he's lonely,
he puts up with that. "Love costs too much. It's way overpriced," Taylor declares,
settling instead for a sort of mutually agreed-upon rape.
The two men adjust their protective gear, then take hold of the nylon tubing
and pull with all their strength and weight. The rope above them comes loose and
falls past them, tied firmly to the nylon — success! But "a rumbling of splitting ice
and tearing snow can be heard faintly Suddenly the whole face of the wall
is engulfed in falling white. It is a massive avalanche. Harold and Taylor disappear
beneath a thundering waterfall of ice. When they reappear, the rope they were
holding is gone, as is the piece of ledge on which their equipment was placed. "
Taylor curses as he sees that the only remaining rope is that which he fastened
to the ice wall. Harold has been struck on the head by a piece of falling ice,
wounded but not seriously. Taylor binds Harold's new injury with a piece of
poncho, then searches the snow. He finds the hammer, one pack, a canteen, a
poncho, then asks Harold for his ice axe.
TAYLOR (with increasing intensity, finally approaching dementia): Your ice axe,
Harold! I'm asking you about your crummy fucking ice axe. It's next to you in
the snow there, isn't it? Just say yes. Say yes, you stupid fucking jerk. Say it before
I throw you off this ledge, you fucking crippled clown!
Harold just stares woozily at Taylor. Suddenly Taylor grabs him by the
collar and begins shaking him violently.
SAY IT! SAY IT! SAY IT! SAY IT! SAY IT! SAY IT!
HAROLD: . . . help . . . Taylor . . . help me . . . help . . . please . . .
TAYLOR (stops shaking Harold): ... Oh God ... of my God . . . (Moves away
from Harold. ) ... oh no ... no, no, no, oh God . . . I'm sorry, Harold . . . I'm
sorry.
HAROLD: . . . You Can make it. You can still make it, but you gotta go now
. . . now.
Harold searches in the snow around him.
Here. It's here.
Harold pulls the ice axe out of the snow.
I got it, Taylor. Look, you got a chance. You could get down before the snow.
You could ... if you're lucky.
TAYLOR: No ... no, no, no . . .
244 THE BEST PLAYS OF 1982-1983
HAROLD: You could. Do it like I said before . . . you could make it.
TAYLOR: It's no good. We're dead. We're dead.
HAROLD: Secure the rope here and . . .
TAYLOR: The screws! They're gone, Harold . . . It's all gone.
HAROLD: What about the wall? (Looks up at the rope. ) There must be some
left on the wall.
TAYLOR: No.
HAROLD: Look.
TAYLOR: No.
Taylor curses the ice wall for trying to make him lose his temper, then yields
to hysteria, chopping at the ice as though he could disable or kill the mountain
with his axe, screaming obscenities at the looming peak until, exhausted, he lies
down. Harold tries to calm him: "Mountains are metaphors, buddy, in case you
forgot — the purest, simplest metaphors on this whole crazy planet. The higher
you go, the deeper you get. It's that God damn simple . . . and when you can't
run away from where the hell you are . . . then guess what? You have to be there."
The discovery of quarks (Harold tells Taylor) vindicated Einstein and
confirmed the laws of cause and effect, which had been brought into question by
previous quantum research. "There is method," he declares as the final conclu-
sion, "There is method all around us. We found God's house, buddy, and we
called it — Quarks."
Harold induces Taylor to look at the wall to see how many ice screws they have
left — three, it seems, so they might just as well assume that there are only three
more ledges between here and the base of the wall. Taylor doesn't believe he can
go onto the wall again to get the screws, but Harold persuades him to do so while
Harold diverts him with further philosophical conclusions.
HAROLD: I am One of the discoverers of the quark. I was the answer man
... I was the answer man. I never grew up . . . it's so clear up here. It doesn't
need me to explain it. I mean it all goes on. Understanding has no meaning
. . . holding on, holding on . . . just holding on . . . that has meaning.
TAYLOR: I got one, Harold! I got one!
HAROLD: Great . . . (The wind.) Listen, I want you to give a message to Eric
when he gets older ... I want you to tell him that life's about holding on. Tell
him . . . Will you do that for me, Taylor?
TAYLOR: Oh my God!
HAROLD: Taylor?
tailor: HAROLD! FAAAAALLLLLIIINNNNGGGG!!!!
Taylor falls from above and then is dangling on the rope.
Taylor is hanging over the edge of the precipice, virtually paralyzed from the
shock of his fall. Harold gets him to swing himself in pendulum motion until he
can grab a loop on the other end of the rope and pull himself in to safety, having
retrieved one ice screw.
Harold gives Taylor the rest of the water to drink. Taylor resents Harold's
suggestion that he try to save himself with what little equipment they have left,
K2 245
telling him, '*I don*t have a Cindy, Harold, and I never wanted one. I only ever
wanted one God damn real friend . . . Harold, you're my friend . . . my friend.
I AM NOT gonna spend the endless seconds of the rest of my days with the fact
that I left you to die on some stinking mountain while I scurried back to life! I'm
not gonna wake up and brush my teeth with that. I'm not gonna drive to work
with that. I'm not."
The wind is howling as they pause for a moment to think the situation over,
then Harold tells Taylor that life is too great a gift to be demeaned by clinging
to it in panic. He would like Cindy to know that he made a graceful exit, and
'T want to hold her and tell her I love her and I'm thinking of her . . . that I'm
caring till the last second . . . And I want her to know that I know ... I messed
up ... I took it for granted . . . livin' on the outside of our happiness." Harold
also would like to have his son Eric realize how sorry his father is that he can't
be there while Eric is growing up: 'T want to hug him one more time . . . hello
and goodbye . . . that's what I want . . . and I can have it all ... I can have it
... if you go back ... if you live with what you'll have to live with ... I can
have it all Taylor ... if you go back ... if you just go back. I want it ... I want
it bad ... I want it bad."
After a moment of studied silence, Taylor finally agrees — he will try to make
it down the ice wall with one rope and one ice screw.
HAROLD: Okay . . . situation assessment . . . take your time ... try to find a
crack within twenty feet of the end of the rope. Drive the screw and give the rope
a couple healthy snaps . . . I'll let it go ... by the end of your second rappell you'll
be about forty feet from the base of the wall. Here, run this through your gizmo.
Harold hands Taylor the rope and he runs it through his figure eight
descender.
Crampons tight? (Taylor nods affirmative. ) You've got the axe . . . it'll be enough
. . . you'll make it . . . try not to get lost, Taylor. I don't want you droppin' into
China.
TAYLOR: I'll be all right.
HAROLD: Ready?
Taylor nods. They sit staring at each other for a moment.
Thank you. {Taylor nods.) Take care of yourself, Taylor.
TAYLOR: . . . yOU tOO.
HAROLD: Go.
TAYLOR: Right ... I love you . . .
HAROLD: I love you too . . . Go.
Taylor slips over the ledge in one motion and is gone. Harold sits for
a long moment looking down the cliff after him. Harold is breathing
more and more spasmodically, his chest rising and falling rapidly. He
leans back and closes his eyes and eventually his breathing slows, calms.
Harold has his hand on the rope to feel the tension. He talks aloud as though
telling his beloved Cindy a story about Japanese glacier foxes, some of which are
albinos inevitably blinded by the glare of the sun on the glacier. Their fellow
creatures care for them for awhile, bringing them food in the burrow, but eventu-
246 THE BEST PLAYS OF 1982-1983
ally some instinct forces them to come down the mountain onto the beach and
sit there facing the rolling sea, motionless, waiting for the waves to rise around
them until they disappear under the water.
HAROLD: The Japanese fishermen see one sometimes — once in a great
while ... at dawn . . . sitting . . . waiting ... on the beach.
The rope snaps sharply twice.
Taylor found a crack. Taylor's got a crack, baby ... I love you.
Harold unties the rope and holds it closely to him.
Taylor's goin' home . . . Taylor's gonna see your pretty smile. Taylor's gonna be
warm again.
Harold^s breathing starts to become violent again. He closes his eyes.
It calms.
Hold on . . . hold on ... I have to hold on. Help me hold on, honey. I want to
stay with you now. I want to be calm like the little fox . . . and stay with you
... I love you forever . . . forever.
The rope snaps sharply in Harold's hands.
. . . You know what I know? I know why the little fox sits so still . . . My one
. . . It's because he knows he'll be back . . . and he'll have eyes next time.
Harold throws the rope into space, and it disappears.
... He knows he'll have eyes next time.
We hear Harold softly, very softly, as the lights dim out in blues.
. . . hold on . . . hold on . . . hold on . . . hold on . . .
Curtain.
ooo
ooo
ooo
ooo
ooo
ooo 'NIGHT, MOTHER
A Play in One Act
BY MARSHA NORMAN
Cast and credits appear on page 355
MARSHA NORMAN was born Marsha Williams (Norman being a married name)
in Louisville, Ky. in 1947, the daughter of a realtor. She went to school in Louisville
and received her B.A. from Agnes Scott College in Decatur in 1969. After gradua-
tion she married Michael Norman, a teacher (they were divorced in 1974). She
worked with emotionally disturbed children at Central State Hospital in Louisville
while getting her MA. at the University of Louisville, receiving it in 1971. She
served as a filmmaker in schools under the aegis of the Kentucky Arts Commission,
which sent her to the Center for Understanding Media in New York City for
postgraduate study during two summers. She pursued her interest in writing
through free-lance book reviews and features, and in putting out a newspaper for
children. The Jelly Bean Journal, under the masthead of the Louisville Times.
In 1976 Ms. Norman began writing full time. Seeking ''more sustained involve-
ment'' with a piece of work, she decided to go ahead with a play, her first, commis-
sioned by Jon Jory, producing director of the Actors Theater of Louisville. She
enjoyed the playwriting experience because ''nothing else was ever this hard. " The
play was Getting Out (and its author then billed herself with her middle initial,
Marsha W. Norman), produced by Actors Theater in November 1977 and at the
Mark Taper Forum in Los Angeles in February 1978. It was cited by the American
Theater Critics Association as an outstanding new play of the cross-country season
and was therefore represented in our 1977-78 Best Plays volume in a synopsis in
our section on The Season Around the United States. Getting Out became a Best
" 'night, Mother": by Marsha Norman. Copyright © 1983 by Marsha Norman. Reprinted by permis-
sion of Hill and Wang, a division of Farrar, Straus and Giroux, Inc. See caution notice on copynght
page. All inquiries concerning stock and amateur production rights should be addressed to: Drama-
tists Play Service, Inc.. 440 Park Avenue South, New York. N.Y. 10016. All inquiries concerning
other nghts should be addressed to the author's agent: William Morris Agency, Inc., Attention:
Samuel Liff, 1350 Avenue of the Americas, New York, N.Y. 10019.
247
Kathy Bates (foreground) as Jessie Gates and Anne Pito-
niak as Thelma Gates in a scene from 'night, Mother
'NIGHT, MOTHER 249
Play when it came to New York in the off-Broadway Phoenix Theater production
for 22 performances beginning Oct. 19, 1978, then moving to the Theater De Lys
May 15, 1979 for an extended run of 237 more performances.
Subsequent plays by Ms. Norman have included Laundromat (off off Broadway,
1979) and Third and Oak and Circus Valentine at Actors Theater of Louisville,
where she served as playwright-in-residence during the 1978-79 season. Her 'night,
Mother was presented off off Broadway in November 1981 as a Circle Repertory
project-in-progress and in December 1982 at American Repertory Theater in Cam-
bridge, Mass. (on the basis of which production it was awarded the Pulitzer Prize)
before opening on Broadway March 31 and winning its author's second Best Play
designation.
A new Norman playscript. The Holdup, was presented this season at American
Conservatory Theater in San Francisco following its project-in-progress appearance
at Circle Rep. Ms. Norman is also the author of screen and TV plays and is now
working on a musical. The Shakers, with Norman L. Berman. She has been the
recipient of grants from the National Endowment and the Rockefeller Foundation.
She has remarried (her new husband is Dann Byck, who produced his wife's play
on Broadway) and lives in New York City.
Time: The present, about 9 p.m.
Place: A relatively new house built way out on a country
road
SYNOPSIS: The living room area at right is cluttered with magazines, needle-
work, candy dishes and an assortment of unremarkable furniture and decoration.
The kitchen area, about one-third of the floor space, is at left. A door upstage
leads into the hall, on the far side of which a bedroom door is visible, and there
is a door to the porch at left. A clock on the wall shows that it is about 9 p.m.,
and it will run through the continuous action which follows.
Thelma Gates is in the kitchen getting herself a tidbit from the shelf of her
candies and cookies. She is in her late 50s or early 60s, and ''her sturdiness is quite
obvious, although she has begun to feel her age she speaks quickly and enjoys
talking.'' As she moves to the living room area, her daughter Jessie enters
carrying a stack of newspapers which she deposits by the porch door. Jessie Gates
is in her late 30s or early 40s, ''pale and vaguely unsteady, physically. It is not
possible to tell why she distrusts her body, but she does She wears pants and
a long black sweater with deep pockets There is a familiarity between these
two women that comes from having lived together for a long time.''
Jessie is looking for old towels and pillows. Her mother reminds her that it's
Saturday night, so Jessie is due to give her her weekly manicure. Jessie has this
on her schedule for this evening, but right now she wants to find her father's pistol
— it's probably in a shoe box in the attic.
250 THE BEST PLAYS OF 1982-1983
After she tends her mother's immediate needs, cleaning her eyeglasses and
measuring her knitting, Jessie pulls down the attic ladder from the hall ceiling.
Thelma warns her that the attic floor is unsafe. Jessie knows it: "They didn't mean
this house to last two minutes. Built it just to sell it, didn't they?" But she
disappears into the attic while Thelma decries the idea of their needing firearms.
There are no criminals around, they are too far out in the country, and "We don't
have anything anybody'd want, Jessie. I mean, I don't even want what we got,
Jessie."
Jessie finds the pistol and comes down the ladder, as Thelma comments that
she wouldn't want Jessie's son Ricky to know they have a gun in the house.
"Don't worry. It's not for him, it's for me," Jessie tells her mother and then goes
on, " don't talk to me any more about Ricky. Those two rings he took were
the last valuable things I had, so now he's started in on other people, door to door.
Like he's going down a list of the world, taking everybody's things. I hope they
put him away some time. I'd turn him in if I knew where he was."
Jessie intructs Thelma to wash her hands for the manicure, then sets about
cleaning the pistol. Thelma scoffs again at the idea of thieves coming here, and
Jessie insists again that the gun isn't for them, it's for her.
MAMA: Well, you can have it if you want. You can mind your manners and
ask first, and you can have anything in the house, Jessie. When I die, you'll get
it all anyway.
JESSIE: I'm going to kill myself. Mama.
MAMA: You are not, don't even say such a thing, Jessie.
JESSIE: How would you know if I didn't say it? You want it to be a surprise?
You're lying there in your bed or maybe you're just brushing your teeth and you
hear this . . . noise down the hall?
MAMA: Kill yourself.
JESSIE: Shoot myself. In a couple of hours. (Holds the gun to her head. ) Like
so.
MAMA: It must be time for your medicine.
JESSIE: Took it already.
MAMA: What's the matter with you?
JESSIE: Not a thing. Feel fine.
MAMA: You feel fine. You're just going to kill yourself.
JESSIE: Waited until I felt good enough, in fact. Feel fine.
MAMA: Don't make jokes, Jessie. I'm too old for jokes. It's not a bit funny.
JESSIE: It's not a joke. Mama.
Thelma suggests that the gun may not work, or the ammunition may be too
old, but Jessie tries the action and shows her mother bullets she bought only last
week. Mama threatens to call Jessie's brother, Dawson; but if she does, Jessie will
simply shoot herself before Dawson can get here: "Go ahead, call him. Then call
the police. Then call the funeral home. Then call Loretta and see if she'll do your
nails."
Thelma tries to use the phone, but Jessie stops her, insisting that this is to be
a private matter between just the two of them. Thelma warns her she may miss
'NIGHT, MOTHER 251
(Jessie doesn't think so), challenges Jessie about being afraid to die. Jessie denies
this — death is what she longs for, dark and quiet and safe, dead quiet. Thelma
threatens her with hell, to no effect (and Jessie rather believes that Jesus himself
was a suicide).
Jessie goes toward the bedroom carrying the box with the pistol, which she has
loaded with bullets. Grasping at straws, Thelma forbids Jessie to kill herself in
this house, which like the gun itself belongs to Thelma.
JESSIE: I have to go in the bedroom and lock the door behind me so they won't
arrest you for killing me. They'll probably test your hands for gunpowder any-
way, but you'll pass.
MAMA: Not in my house!
JESSIE: If I'd known you were going to act like this, I wouldn't have told you.
MAMA: How am I supposed to act? Tell you to go ahead? O.K. by me, sugar?
Makes real good sense. What took you so long? Might try it myself. Hold your
hand?
JESSIE: There's just no point in fighting me over it, that's all. Want some coffee?
MAMA: Your birthday's coming up, Jessie. Don't you want to know what we
got you?
JESSIE: You got me dusting powder, Loretta got me a new housecoat, pink
probably, and Dawson got me new slippers, too small, but they go with the robe,
he'll say.
Mama cannot speak.
Right.
Jessie pats her on the shoulder.
Be back in a minute.
While Jessie takes the gun, the towels and the plastic bags into the bedroom,
Thelma picks up the phone, then thinks better of using it. Jessie comes back and
sets about refilling all the candy jars, telling her mother, "I'm going to do what
I can before I go. We're not just going to sit around tonight. I made a list of
things." Thelma has to be told, for example, exactly how to work the washing
machine, where the soap is kept and how to get repairs done.
Thelma offers to keep Dawson and his wife Loretta away from this house,
because clearly they get on Jessie's nerves — as members of the family, they have
too easy access to the private recesses of Thelma's and Jessie's lives — but Jessie
wouldn't kill herself simply out of annoyance with Dawson and Loretta. She
merely leaves the room when they come over.
Jessie's son Ricky has caused her considerable pain — nobody would be sur-
prised if Ricky killed somebody some day — and Thelma offers suggestions as to
how the Ricky problem might be solved. Jessie ignores the subject of Ricky,
explaining various household procedures of ordering candy, food and medicine
which her mother will need to know. Thelma suggests that Jessie is sick, and
Jessie denies it.
MAMA: Epilepsy is sick, Jessie.
JESSIE: It won't kill me. (Pause. ) If it would, I wouldn't have to.
252 THE BEST PLAYS OF 1982-1983
MAMA: You don't have to!
JESSIE: No, I don't. That's what I like about it.
MAMA: Jessie!
JESSIE: I want to hang a big sign around my neck, hke Daddy's on the barn.
Gone Fishing.
MAMA: Well, I won't let you!
JESSIE: It's not up to you.
MAMA: You don't like it here.
JESSIE (smiles): Exactly.
MAMA: I meant here in my house.
JESSIE: I know you did.
MAMA: You never should have moved back in here with me. If you'd kept your
little house or found another place when Cecil left you, you'd have made some
new friends at least. Had a life to lead. Had your own things around you. Give
Ricky a place to come see you. You never should've come here.
JESSIE: Maybe.
MAMA: But I didn't force you, did I? [1
JESSIE: I didn't have any better ideas. And you wanted me.
MAMA: You didn't have any business being by yourself right then, but I can
see how you might want a place of your own. A grown woman should . . .
JESSIE: If it was a mistake, we made it together. You took me in. I appreciate
that.
MAMA: It's not too late to move out. You could be as close or as far away as
you wanted.
JESSIE: Mama . . . I'm just not having a very good time and I don't have any
reason to think it'll get anything but worse. I'm tired. I'm hurt. I'm sad. I feel
used.
MAMA: Tired of what?
JESSIE: It all.
MAMA: What does that mean?
JESSIE: I can't say it any better.
MAMA: Well, you'll have to say it better because I'm not letting you alone till
you do. What were those other things? Hurt . . . (Before Jessie can answer. ) You
had this all ready to say to me, didn't you? Did you write this down? How long
have you been thinking about this?
JESSIE: Off and on, ten years. On all the time, since Christmas.
MAMA: What happened at Christmas?
JESSIE: Nothing.
MAMA: So why Christmas?
JESSIE: That's it. On the nose.
A pause. Mama knows exactly what Jessie means. She was there too,
after all.
(Putting the candy sacks away. ) See where all this is? Red hots up front, sour balls
and horehound mixed together in this one sack. New packages of toffee and
licorice right in back there.
MAMA: Go back to your list. You're hurt by what?
JESSIE (as if Mama knows perfectly well): Mama . . .
'NIGHT, MOTHER 253
MAMA: O.K. Sad about what? There's nothing real sad going on right now. If
it was after your divorce or something, that would make sense.
JESSIE (straightening the drawer as she talks): Now, this drawer has everything
in it that there's no better place for. Extension cords, batteries for the radio, extra
lighters, sand paper, masking tape, Elmer's Glue, thumbtacks, that kind of stuff.
The mousetraps are under the sink, but you call Dawson if you've got one and
let him do it.
MAMA: Sad about what?
JESSIE: The way things are.
MAMA: Not good enough. What things?
JESSIE: Oh, everything from you and me to Red China.
Jessie is being facetious, but at heart she's convinced that things aren't going
any better out there in the wide world than they are right here in this room.
Thelma offers to give up TV (kicking the set in demonstration) if the TV news
is depressing her daughter. She even offers to get Jessie a dog, but Jessie continues
her evasion in a series of instructions about household chores. ''You don't have
to take care of me, Jessie," Thelma says, declaring herself fit to take over most
of the duties if that's what's upsetting her daughter. Jessie is aware that Thelma
has been letting her do most of the housework simply to give Jessie something
to occupy herself with. She tries to explain to her mother: "Mama, I know you
used to ride the bus. Riding the bus and it's hot and bumpy and crowded and
too noisy and more than anything in the world you want to get off and the only
reason in the world you don't get off is it's still fifty blocks from where you're
going? Well, I can get off right now if I want to, because even if I ride fifty more
years and get off then, it's the same place when I step down to it. Whenever I
feel like it, I can get off. As soon as I've had enough, it's my stop. I've had
enough."
You have to work at learning to have a good time in life, Thelma insists. She
suggests that Jessie stop acting like a brat and pull herself together — rearrange
the furniture, or get a job. Jessie has tried the latter, working in a hospital gift
shop, but she made the customers feel uncomfortable in the way she smiled at
them. She once kept her father's books but did an inadequate job of that too.
Jessie can have an epileptic seizure at any time, which has alienated her from
other people, at least in her own mind. Her life is all Jessie has that truly
belongs to her; as far as she can see, she can't improve it, but she can shut it
down.
Jessie suggests they enjoy their last evening together by making cocoa and
caramel apples. Jessie sits for the first time this evening, while her mother stirs
herself to buy time by brewing up the cocoa.
Jessie asks about Thelma's friend Agnes, and Thelma reveals that Agnes, as
a child, made a practise of burning down each house she lived in — but no one
was ever hurt in the fires or came around afterward to ask questions. Thelma
thinks Agnes might do it again some day.
Thelma makes Jessie laugh talking about Agnes's pet birds. But Jessie knows
that Agnes won't come here to visit Thelma, and that it has something to do with
her. Thelma insists that her friend Agnes is crazy but admits that Agnes won't
Kathy Bates and Anne Pitoniak in 'night, Mother
come here because she has an irrational fear of Jessie. Thelma offers to force
Agnes to come over, but Jessie doesn't want that, she just wanted to know.
They try the cocoa and decide they don't hke it after all; meanwhile, Jessie
inquires about whether her parents loved each other, and Thelma tells her about
her father, whom she had known all her life: "He felt sorry for me. He wanted
a plain country woman, and that's what he married, and then he held it against
me the rest of my life like I was supposed to change and surprise him somehow
" There was very little communication between them.
Jessie remembers that "I liked him better than you did, but I didn't know him
any better." He used to make playthings for her occasionally, though a lot of the
time he would just sit quietly in his chair. Jessie enjoyed talking to her father
about mundane, everyday things, and Thelma was a bit jealous of that. Jessie
misses him. She thought Thelma's life would improve, she'd get around more,
after he died — but it didn't.
Thelma suggests Jessie might not be wanting to kill herself if her father were
still alive, but she denies this. Thelma sums up her marriage: "It didn't matter
whether I loved him. It didn't matter to me, and it didn't matter to him. And
it didn't mean we didn't get along. It wasn't important. We didn't talk about it."
Thelma starts gathering kitchen equipment to throw out, declaring that from
now on she'll hve on tuna fish and candy. She orders Jessie to throw out all the
pots and pans — she'll cook no more — but Jessie refuses, suggesting that maybe
'NIGHT. MOTHER 255
Agnes could move in here so that Thelma wouldn't be alone. But Thelma
wouldn't have her. Agnes is just a long-established habit with Thelma, who takes
no real pleasure in her company.
Thelma and Jessie argue over the contents of the refrigerator. Jessie insisting
that her mother ought to drink more milk. Jessie will clean out the refngerator
now, otherwise Thelma will merely let the contents spoil.
MAMA: Nothing I ever did was good enough for you. and I want to know why.
JESSIE: That's not true.
MAMA: And I want to know why you've lived here this long feeling the way
you do.
JESSIE: You have no earthly idea how I feel.
m.^m.a: Well how could I? You're real far back there, Jessie.
JESSIE: Back where"^
mama: What's it like over there, where you are? Do people always say the nght
thing or get whatever they want, or what"^
JESSIE: What are you talking about*^
mam.\: Why do you read the newspaper? Why don't you wear that sweater I
made for you? Do you remember how I used to look, or am I just any old w oman
now? When you have a fit do you see stars, or what? How did you fall off the
horse, really? Why did Cecil leave you'^ Where did you put my old glasses'^
JESSIE: They're in the bottom drawer of your dresser in an old Milk of Magne-
sia box. Cecil left me because he made me choose between him and smoking.
mama: Jessie, I know he wasn't that dumb.
JESSIE: I never understood why he hated it so much when it's so good. Smoking
is the only thing I know that's always just what you think it's going to be. Just
like it was the last time and right there when you want it and real quiet.
M.AM.A: Your fits made him sick, and you know it.
JESSIE: Say seizures, not fits. Seizures.
MAMA: It's the same thing. A seizure in the hospital is a fit at home.
JESSIE: They didn't bother him at all. Except he did feel responsible for it. It
was his idea to go horseback riding that day. It was his idea I could do anything
if I just made up my mind to. I fell off" the horse because I didn't know how to
hold on. Cecil left for pretty much the same reason.
MAMA: He had a girl, Jessie. I walked right in on them in the tool shed.
JESSIE {after a moment): O.K. That's fair. (Lights another cigarette. ) Was she
very pretty?
MAMA: She was Agnes's girl, Carlene. Judge for yourself.
Thelma pretends she never thought Cecil was good enough for Jessie, but in
fact she spotted him and hired him to build a porch, bringing him around so that
Jessie could meet him. Jessie thinks it might have been better if her mother had
let well enough alone, even if it meant Jessie remaining unmarried. But Jessie
admits she loved Cecil and tried to be the woman he wanted — thinner, more alert
— but perhaps she tned too hard or too obviously. As for their son Ricky, he is
"as much like me as it's possible for any human to be I see it on his face.
I hear it when he talks. We look out at the world and we see the same thing. Not
256 THE BEST PLAYS OF 1982-1983
Fair. And the only difference between us is, Ricky's out there trying to get even.
And he knows not to trust anybody, and he got it straight from me " He's
going from bad to what Jessie knows is sure to be worse.
Thelma suggests that Jessie get ahold of Cecil and try again, but she already
tried hard enough, begging Cecil to take her with him even if it meant leaving
Ricky behind. She has now reconciled herself to Cecil's absence, she tells Thelma
as she takes the garbage outside (Thelma mentions the caramel apple, but Jessie
has now decided she doesn't want one). Once again Thelma goes toward the
phone and again decides against using it. When Jessie comes back inside, Thelma
mentions that perhaps Jessie's father's silences were a form of fit, but Jessie
doesn't believe it.
Thelma doesn't seem interested in the proposed manicure, so instead Jessie
proceeds to replace the recently-laundered slipcovers on the sofa, with her mother
helping. They are discussing Jessie's seizures — she doesn't see stars and most of
the time has no warning and doesn't know she's having one. Thelma has noticed
that Jessie's eyes seem to enlarge just before one of the seizures, which arrive in
various forms. Sometimes Thelma can't bear to watch. Afterwards, Thelma
cleans Jessie up before calling Dawson to come over and help her lift Jessie into
bed. With the medicine she's now taking, Jessie hasn't had a recurrence in a whole
year and might never have another. She feels good, and her memory has im-
proved. She doesn't need to make so many lists to remind herself what she should
be doing.
Thelma suggests that possibly Jessie inherited her illness from her father, but
Jessie is sure it was caused by the fall from the horse. Thelma then reveals that
the seizure following the fall from the horse wasn't the first one, as Jessie had
supposed. The seizures started at age 5, but the truth was kept from Jessie and
everyone else by Thelma, until one day after the horse incident Cecil was watch-
ing and told Jessie. Even Jessie's father didn't realize what was wrong.
Jessie reflects angrily that she should have been told much sooner — if she'd
known she was an epileptic, she might have sought treatment earlier, and she
wouldn't have gone horseback riding.
Jessie suggests that Thelma bring the manicure tray, but Thelma throws the
tray onto the floor.
MAMA (beginning to break down): Maybe I fed you the wrong thing. Maybe
you had a fever some time, and I didn't know it soon enough. Maybe it was a
punishment.
JESSIE: For what?
MAMA: I don't know. Because of how I felt about your father. Because I didn't
want any more children. Because I smoked too much or didn't eat right when
I was carrying you. It has to be something I did.
JESSIE: It does not. It's just a sickness, not a curse. Epilepsy doesn't mean
anything. It just is.
MAMA: I'm not talking about the fits here, Jessie! I'm talking about this killing
yourself It has to be me that's the matter here. You wouldn't be doing this if it
wasn't. I didn't tell you things, or I married you off" to the wrong man, or I took
you in and let your life get away from you, or all of it put together. I don't know
NIGHT, MOTHER 257
what I did, but I did it, I know. This is all my fault, Jessie, but I don't know what
to do about it, now!
JESSIE {exasperated at having to say this again): It doesn't have anything to do
with you!
MAMA: Everything you do has something to do with me, Jessie. You can't do
anything, wash your face or cut your finger, without doing it to me. That's right!
You might as well kill me as you, Jessie, it's the same thing. This has to do with
me, Jessie.
JESSIE: Then what if it does! What if it has everything to do with you! What
if you are all I have and you're not enough? What if I could take all the rest of
it if only I didn't have you here? What if the only way I can get away from you
for good is to kill myself? What if it is? I can still do it!
MAMA (in desperate tears): Don't leave me Jessie!
Jessie goes into the bedroom, but only to bring out a box of mementos she wants
distributed to various people after her death. Thelma picks up the bottles from
the manicure tray. When Jessie returns, Thelma pleads with her not to leave her
alone to cope with all the problematical details of living and also with the
remorseful feeling that she could have done something to help Jessie: *'Stay with
me a little longer. Just a few more years. I don't have that many more to go, Jessie.
And as soon as I'm dead, you can do whatever you want. And maybe with me
gone, it'll be quiet enough here in the house that you won't have to ... do this."
And maybe some day Ricky will straighten out and bring grandchildren here to
visit.
Jessie sees what she is putting her mother through and regrets it along with
all the other ill-fated events of a life which she so despises. Thelma challenges her
to try it a little while longer, something unexpectedly good might turn up.
MAMA: Try it for two more weeks. We could have more talks like tonight.
I'll pay more attention to you. Listen more. Act better. Not feel so sorry for
myself. Tell the truth when you ask me. Let you have your say.
JESSIE: We wouldn't have more nights like tonight because it's this next part
that's made this last part so good. Mama. And you've already been as sweet to
me as you had any right to be. This is all I can really do that will make me feel
like I was worth anything at all. Like I knew who I was, anyway, and I knew
what I wanted to do about it. This is how I have my say. Mama. This is how
I say what I thought about it all and I say No. To Dawson and Loretta and the
Red Chinese and epilepsy and Ricky and Cecil and you. And me. And hope. I
say No. Just let me go easy. Mama.
MAMA: How can I let you go, Jessie?
JESSIE: You can because you have to. It's what you've always done.
MAMA: You are my child!
JESSIE: I am what became of your child.
Mama cannot answer.
I found an old baby picture of me. And it was somebody else, not me. It was
somebody pink and fat who never heard of sick or lonely, somebody who cried
and got fed, and reached up and got held, and kicked but didn't hurt anybody,
258 THE BEST PLAYS OF 1982-1983
and slept whenever she wanted to, just by closing her eyes That's who I
started out, and this is who is left. (There is no self-pity here.) That's what this
is about. It's somebody I lost, all right. Only it's not anybody out there, Cecil or
Daddy, it's my own self. Who I never was. Or who I tried to be and never got
there. Somebody I waited for who never came. And never will. So, see, it doesn't
much matter what else happens in the world or in this house, even. I'm what was
worth waiting for, and I didn't make it. Me . . . who might have made a difference
to me . . . I'm not going to show up, so there's ... no reason to stay, except to
keep you company, and that's . . . not reason enough because I'm not . . . very
good company.
A pause.
Am I?
MAMA (desperate pained truth): No. Not in the way you mean. No. And neither
am I.
If there was something — anything, like rice pudding — Jessie really liked, she
might stay, but there isn't. Thelma resents Jessie's casual rejection of the life she
clings to so tenaciously, but then she realizes that mentally, at least, Jessie has
already gone. If Jessie thinks she will attract sympathy from others with her
suicide, she is making a mistake — it's Thelma they'll all feel sorry for, they'll just
be ashamed of Jessie, Thelma tells her vehemently. Outbursts like this make Jessie
almost wish she'd just left her mother a note instead of telling her what she was
going to do.
Jessie gives Thelma instructions about how to handle the modest funeral and
the guests afterwards. Thelma finds herself receiving these instructions as though
she were accepting Jessie's death as an accomplished fact. Jessie instructs her
further: "Now, somebody's bound to ask you why I did it, and you just say you
don't know. That you loved me and you know I loved you and we just sat around
tonight like every other night of our lives and then I came over and kissed you
and said, " 'night. Mother," and you heard me close my bedroom door, and the
next thing you heard was the shot. And whatever reasons I had, well, you guess
I just took them with me. You guess it was something personal. And let them
think whatever they want." Thelma is not to try to explain further even to
Dawson and Loretta, because this evening is a private matter between mother and
daughter only.
Jessie warns Thelma not to try to enter the bedroom after she hears the shot,
but to phone Dawson, then the police, then occupy herself by washing the
chocolate pan, several times if necessary, until the doorbell rings. Thelma should
ask Dawson to bring his extra set of keys so the police won't have to break down
the bedroom door. Thelma is to stay in the living room with Dawson and Loretta
while the pohce do their work and then go stay with them if she wants to or have
Agnes come to stay here (Thelma doesn't want that).
Jessie gives instructions for the box of mementos, which includes a letter to
Dawson about Thelma, telling him where all the important documents are kept
and advising him what to give Thelma for Christmas and birthdays. Jessie wants
Thelma to phone Cecil, mainly for Cecil to inform Ricky what has happened.
Jessie has saved her watch to give to Ricky: **I appreciate him not stealing it
'NIGHT, MOTHER 259
already, so I'm just letting him know that, and saving him the trouble, and maybe
he'll have something other than chili for supper for once. I'd like to buy him a
good meal."
Most of the box's contents are gift-wrapped and are for Thelma — *'not bought
presents, just things I thought you might like to look at, pictures or things you
think you've lost" — whenever Thelma feels the need of a present. Thelma thinks
maybe she'd like to have that manicure now, but it's too late, as Jessie informs
her: *'It's time for me to go, Mama."
MAMA: It's not too late!
JESSIE: I don't want you to wake Dawson and Loretta when you call. I want
them to still be up and dressed so they can get right over.
^5 Jessie backs up, Mama moves in on her, but carefully.
MAMA: They wake up fast, Jessie, if they have to. They don't matter here,
Jessie. You do. I do. We're not through yet. We've got a lot of things to take care
of here. (Trying to get close enough to grab her.) I don't know where my prescrip-
tions are, and you didn't tell me what to tell Doctor Davis when he calls or how
much you want me to tell Ricky or who I call to rake the leaves or . . .
JESSIE: Don't try and stop me, Mama, you can't do it.
MAMA (grabbing her again, this time hard): I can too! I'm a lot stronger than
you are and you know it! And I'll stand in front of this hall and you can't get
past me, I've got forty pounds on you at least!
They struggle.
You'll have to knock me down to get away from me, Jessie, or I'll knock you out
cold before I'll . . .
Mama reaches for the phone book or some other implement to hit Jessie
with, and as she does, Jessie gets away from her.
JESSIE (almost a whisper): 'night. Mother.
She vanishes into her bedroom, and we hear the door lock just as Mama
gets to it.
MAMA (screams): Jessie!
Thelma pounds on the unyielding door and shouts at her daughter that none
of her orders will be obeyed unless she comes out and sees to them herself. There
is no answer, and Thelma cries out to Jessie to give herself another chance:
"Jessie! Please!" The shot is heard — '7r sounds like an answer, it sounds like
Wo.'"
Thelma, in tears and in shock, leaves the door, goes to the sink and picks up
the hot chocolate pan. Then she goes to the phone and dials. Loretta answers,
and Thelma asks for Dawson. ''She looks down at the pan, holding it tight like
her life depended on it. Curtain.''
Tommy Tune as Capt. Billy Buck Chandler and Charles "Honi"
Coles as Mr. Magix in a tap dance number in My One and Only
ooo
ooo
ooo
ooo
ooo MY ONE AND ONLY
A Musical Comedy in Two Acts
BOOK BY PETER STONE and
TIMOTHY S. MAYER
MUSIC BY GEORGE GERSHWIN
LYRICS BY IRA GERSHWIN
Cast and credits appear on page 360
PETER STONE (co-author of book) was born Feb. 27, 1930 in Los Angeles, the
son of the late John Stone, movie producer and writer. He took his B.A. degree at
Bard (which also granted him a D. Litt. in 1971) and his M.F.A. at Yale Drama
School in 1953. He began his writing career in France, where he contributed to all
media. His first work for the Broadway theater was the book for a musical version
of Jean-Paul Sartre's Kean (1961), and there followed the librettos o/ Skyscraper
(1965), 1776 (1969, a Best Play and the winner of the Critics and Tony Awards
for best musical). Two by Two (1970), Sugar ^7972;, Woman of the Year (1981)
and now My One and Only, the musical with the Gershwin score which reached
Broadway May 1, 1983 and became its co-author's second Best Play.
Stone also adapted Erich Maria Remarque's Full Circle as a straight play for
Broadway in 1973 and contributed to American Place's program of sketches Straws
in the Wind: A Theatrical Look Ahead in 1975. The long list of his screen plays
began with Charade in 1963 and has included Father Goose (1964, for which he
won an Oscar) and Sweet Charity (1969). He is also the author of many TV scripts
and was awarded an Emmy in 1963 for his work on The Defenders series. He has
"My One and Only": by Peter Stone and Timothy S. Mayer. Copyright © 1983 by Peter Stone and
Timothy S. Mayer. All rights reserved. Reprinted by permission of International Creative Manage-
ment. See CAUTION notice on copyright page. All inquiries should be addressed to the author's
representative: International Creative Management, Attention: Sam Cohn, 40 West 57th Street, New
York, N.Y. 10019.
261
262 THE BEST PLAYS OF 1982-1983
also been the recipient of the Mystery Writers (1964), Drama Desk (1969) and
Christopher (1973) Awards.
Stone is now serving his second term as president of the Dramatists Guild, the
craft organization of playwrights, composers, librettists and lyricists. He is married
and lives in New York City.
TIMOTHY S. MAYER (co-author of book) was born in Binghamton, N.Y. June
9, 1944, the son of an industrialist. He was educated at the Taft School, Watertown,
Conn., graduating in 1962, and at Harvard in the class of 1966, where he wrote
shows for the student organization Hasty Pudding, founded the Agassiz Theater
Company with fellow-student and fellow-dramatist Thomas Babe, won the Phyllis
Anderson Award for his first full-length play. Prince Erie (about the New York boss
Jim Fiske, produced in the year after his graduation) and to which he has returned
from time to time as artist-in-residence and guest lecturer.
Included among Mayer's subsequent playscripts were Red Eye (produced in
1979 in New York), Aladdin in Three Acts (produced as part of his residency
program at Harvard in 1981) and Jesus: A Passion Play, a musical which ran for
several years as a Good Friday TV special. He has also been an active designer and
director for imaginative reinterpretations of classics in Minneapolis, Cambridge,
New York, Lenox, Mass. and other centers of theater activity. From 1973 to 1979
he was drawn into industry but managed to win free, creating a story and characters
upon which the multi-collaborative My One and Only took off into the upper
reaches of the 1983 Best Plays list.
Mayer is now free-lancing, concentrating on the writing of verse and rock 'n' roll
songs. He has been a Rockefeller Fellow and a Levine Senior Fellow at Yale. He
is single and lives in the Cape-and-Islands area of Massachusetts.
GEORGE and IRA GERSHWIN (music and lyrics) are, literally, marquee names
in the Broadway theater — the Uris Theater, home of the Theater Hall of Fame,
at 1633 Broadway was renamed the Gershwin Theater in their honor at this year's
Tony Award ceremonies. Their operatic masterpiece Porgy and Bess was staged at
Radio City Music Hall this season, and their record of accomplishment is so long
and has been so meticulously set forth in many a study and biographical work that
it would be redundant to attempt to outline it here.
Instead — thanks to the book Songs of the American Theater compiled by Rich-
ard Lewine and Alfred Simon — we will set down here the sources for the musical
numbers in their ''new'' Best Play My One and Only. This score is a collection of
Gershwin numbers, from previous Broadway shows unless otherwise noted, as
follows in the order of their appearance in the 1983 show:
"/ Can't Be Bothered Now" from A Damsel in Distress (film, 1937)
''Blah, Blah, Blah" from Delicious (film, 1931)
"Boy Wanted" from Primrose (English show, 1924)
"Soon" from Strike Up the Band (1930)
"High Hat" from Funny Face (1927)
"Sweet and Low-Down" from Tip-Toes (1925)
"Just Another Rhumba" from Goldwyn Follies (film, 1938; cut)
"He Loves and She Loves" from Funny Face (1927)
MY ONE AND ONLY 263
*"S Wonderful from Funny Face (7927;
''Strike Up the Band r from Strike Up the Band (1930)
''In the Swim'' from Funny Face (1927)
"What Are We Here For?'' from Treasure Girl (1928)
"Nice Work If You Can Get It" from A Damsel in Distress (film, 1937)
"My One and Only" from Funny Face (1927)
"Funny Face" from Funny Face (1927)
"Kickin the Clouds Away" from Tell Me More ^925;
"How Long Has This Been Going On?" from Rosalie (1928)
ACT I
Scene 1: Limbo and Pennsylvania Station, May 1, 1927
SYNOPSIS: A trio appears, singing "I Can't Be Bothered Now," as Captain Billy
Buck Chandler — a tall, gangling, Lindbergh-like aviator — appears above, hang-
ing from the straps of a parachute. As he descends to earth he joins the song and
disappears from view as a railroad station and the last car of a train appear on
the set.
Prince Nikki descends from the car with six girls dressed in bathing suits. They
are his "Fish," his Aquacade girls, as he explains: "Are being lovely, yes? And
now — piece of resistance! — star of Aquacade — third woman to swim English
channel but first attractive one — presently making spectaular, heartstopping high
dive into extremely shallow pool — Miss Edythe Herbert!"
With this introduction, Edythe — a beautiful young woman coiffed and dressed
in 1920s flapper style — appears and poses for the photographers. At the same
time, Billy enters to get a package from the train porter, who wonders what this
long, thin shape can be. "It's a new kind of propellor," Billy explains, "and it's
gonna get me to Paris, France."
Billy turns, sees Edythe and is immediately smitten, using the song "Blah, Blah,
Blah" to express his feelings. Then he exits, as Edythe and her chorus of Aqua-
cade beauties echo "I Can't Be Bothered Now."
Scene 2: Billy's Hangar
Billy is at the controls of the Lone Star, his monoplane, with propellor spin-
ning. His female mechanic, Mickey, guides the plane into the hangar.
MICKEY: Captain! what the hell were you doing putting the Lone Star through
all those double barrel-rolls and inside-out loop-the-loops? What're you trying to
do, kill yourself?
BILLY: Stop worryin', Mickey, she handled like a dream. There ain't another
plane in the sky that can touch her.
MICKEY: Did you pick up that new aluminum propellor?
BILLY (retrieving it; it is now unwrapped): Sure did. Have you seen the newspa-
per? I bet my announcement that I'm flyin' non-stop to Paris is all over the front
page.
264 THE BEST PLAYS OF 1982-1983
MICKEY: It sure is, Captain — (Pulls a paper from her pocket.) Listen to this:
"19th Flyer Enters Race."
BILLY (waits for more; there isn't any): You mean that's all? They didn't even
mention my name!
Billy takes the paper to check the story and sees an interview with Edythe. His
interest in the Channel swimmer makes Mickey nervous: "Maybe you've forgot-
ten why I joined up with you in the first place. I coulda gone with anyone — they
was all after me, all the great flyers — even Commander Byrd — and you know
why? Cuz I'm the best! I can make a goddamn double-decker bus fly! But I went
with you, Captain — a dumbass Texas farmer with cowflop on his shoes — 'cuz you
didn't give diddlysquat about anything else in the whole world except flyin'
non-stop to Paris, France. So I said to myself, 'Mick? That dumbass Texas
farmer's gonna get there first!' "
Billy agrees he shouldn't be sidetracked, especially since he'd like to become
famous so that Edythe will then notice him.
Edythe, in another section of the stage, answering reporters' questions about
what she's looking for, sings "Boy Wanted," emphasizing her loneliness in the
limelight. In his stage area, Billy sings "Soon."
In further consultation with Mickey, Billy decides he's not stylish enough to
be noticed by Edythe. But he already has some notoriety because of his flying
circus exploits. The Rt. Rev. J.D. Montgomery, bishop of the Uptown Apostolic
Mission and proprietor of the Club Havana on the same premises, comes into the
hangar and requests Billy's presence at one of his Friday night parties, attended
by such celebrities as Babe Ruth and Edythe Herbert the Channel swimmer. Billy
accepts instantly. Montgomery, "minister to the distressed spirit by day, minister
of the distilled spirit by night" in these days of Prohibition, senses Billy's longing
to improve himself and his appearance. He offers to escort Billy uptown to Mr.
Magix's Tonsorial and Sartorial Emporial, which specializes in such matters.
Scene 3: Mr. Magix's Emporial
Mr. Magix, "an elegantly dressed older gentleman," is seated in an ornate
barber chair, surrounded by various assistants. Billy tells his tale: he's about to
meet this girl who, according to the newspaper stories, is looking for someone
more sophisticated than "some tongue-tied aviator in grease-stained old over-
alls." Mr. Magix can help Billy learn to dress and behave in a style more beguiling
to the ladies. Mr. Magix's instruction takes the form of the song numbers "High
Hat" and "Sweet and Low-Down," with Mr. Magix and Billy acting out the
advice in the form of a tap dance.
Scene 4: Club Havana
Billy arrives at Montgomery's establishment dressed in evening clothes and
ready to meet Edythe, but it's a little too early for the celebrities, who don't
usually begin arriving until after 11 p.m. Finally Edythe enters on Nikki's arm
and is shown to a table. Montgomery reminds Billy to "high hat" the object of
his affections, as Mr. Magix taught him.
MY ONE AND ONLY 265
Meanwhile, Edythe has spotted Billy and is instantly smitten by him as he was
by her, as she declares in a reprise of "Blah, Blah, Blah." Billy plucks up his
courage and asks Edythe to dance. Nikki doesn't permit Edythe to answer for
herself but turns Billy away. Edythe is angry, but Nikki is firm.
NIKKI: Little fish must be protected.
EDYTHE: From what, having a little fun?
NIKKI: Fun is being first step to romance.
EDYTHE: Yeah, well, I could use a little romance in my life.
NIKKI: Romance you want? Go to movies.
EDYTHE: I do nothing but go to the movies. I live in the movies.
NIKKI: Is better so.
EDYTHE (a beat as she regards him): I think it's time you and me parted
company.
NIKKI: Yes? How amusing.
EDYTHE: I mean it, Nikki. I want out.
NIKKI: Fish is forgetting — Nikki has old photographs, photographs you let
Nikki take.
EDYTHE: I was Seventeen —
NIKKI: Very grown-up seventeen.
EDYTHE: You wouldn't never show them snaps to no one, would you Nikki?
NIKKI: Of course not. (A beat.) Unless absolutely necessary.
EDYTHE: You bastard. I'll run away — I'll leave the country —
NIKKI: Fish is again forgetting — Prince Nikki is holding passport. Without
passport, you can go nowhere.
EDYTHE: You really are a prince, Nikki.
Montgomery announces the finals of the club's beauty pageant, with all the
contestants dressed as products of Cuba, the musical background being "Just
Another Rhumba." At the climax of the pageant there is a raid by the police —
but by the time the police enter, the Rt. Rev. Montgomery and his assistants are
dressed as bishop and nuns, and the patrons have vanished.
Scene 5: Cinema
At a movie house, Edythe enters and finds a seat. On a large screen facing the
audience, a romantic silent film (represented by a series of still photographs
flashed on the screen, with titles) is in progress, set in the casbah of "Fayoum,
Sin City of the Nile." The actor and actress playing the love scenes on the screen
are Edythe ("the fair Circassian dancing girl,") Billy ("Achille de Carcassonne,
an intellectual") and Nikki ("Murad Bey, great lord of all the Mamelukes. He
is cruel, lewd and disgusting"). As the movie begins to unfold, Billy enters
carrying a number of bags and boxes, finds Edythe, sits near her and pretends
that this is a chance meeting. He tempts her with everything from fudge to hot
soup (while other patrons command them to be quiet), and gradually Edythe
accepts his presence, at least for the duration of the movie. Billy sings "He Loves
and She Loves" and gradually gets Edythe to sing it too.
266 THE BEST PLAYS OF 1982-1983
The last titles flash on the screen: "I must remain what I have become — White
Baggage of the Casbah" and then 'The End." The lights come up and Edythe
quickly prepares to leave.
BILLY: Where are you going? When am I going to see you again?
EDYTHE: Never!
BILLY: Miss Herbert — Edythe — wait! —
He follows her. As they come downstage, the movie house disappears
and they are outside.
Miss Herbert, why don't we go somewhere and have dinner?
EDYTHE (turning back): We just had dinner. Now be a good fellow and buzz off.
BILLY: But I've got plans — plans that include you —
EDYTHE: Look, do I have to spell it out? Okay, here it is: I'm not available!
Did you catch that? I belong to somebody else! There's no place for you in my
Hfe! So if you don't stop annoying me I'm going to call a —
Suddenly, impulsively, he stops her mouth with a kiss.
The kiss becomes a dance to the reprised music of "He Loves and She Loves,"
after which they exit arm in arm, while a quartet sings the same lyrics to four
girls in an open touring car.
Scene 6: Central Park
Edythe, parked with Billy in a roadster in Central Park, confesses that she
hated swimming the Channel but loves her Aquacade high-diving, at least the
part where she soars through the air. *'You're a flyer! Just like me," Billy declares.
He tells Edythe of his ambition to become the first to fly non-stop to Paris.
EDYTHE (a thought occurs): Do you — need a passport to do that?
BILLY: I ain't never been asked for one yet.
EDYTHE (a beat): Can I come with you?
BILLY: To Paris? We'd be too heavy.
EDYTHE: I don't weigh very much —
BILLY: The plane'd never make it.
EDYTHE: Oh. (Thinking.) Do you ever go anywhere else?
BILLY: Sure. I'm flying to Margate in the morning — to pick up an extra gas tank.
EDYTHE: Margate! Really?! I come from there!
BILLY: Margate, New Jersey.
EDYTHE: Oh. That's no good. Don't you ever fly out of the country? How about
Havana? I'd love to see Havana! Would you take me there?
BILLY: Sure, I guess we could go there some time —
EDYTHE: You're really awfully nice —
They kiss.
But Nikki, hiding in the bushes, has overheard this conversation, as Billy
promises Edythe to change his plans and fly her to Havana tomorrow instead of
New Jersey.
MY ONE AND ONLY 267
Scene 7: Billy's Hangar
The tail of the Lone Star is visible at left. Nikki enters, contemplating sabotag-
ing the plane in order to rid himself of Billy (and at the same time he would fulfill
some unexplained secret mission). Mickey enters, sees that Nikki is smoking near
the fuel tanks and orders him out of the hangar. Nikki manages to overpower
Mickey, run water into the gasoline and drag her away before Billy and Edythe
enter, bound for Havana. They disappear behind the plane. Soon there is the
sound of an engine and the Lone Star moves off. The engine roars as the plane
takes off (and Mickey runs in, too late to warn them); then the engine is heard
sputtering and faltering and finally failing, as the trio reprises *'I Can't Be Both-
ered Now."
Scene 8: A Deserted Beach
A newscaster announces that Capt. Billy Buck Chandler's plane is missing and
probably lost, as the lights come up on Billy and Edythe lying on a deserted beach,
tattered but obviously happy, expressing their mood and feelings for each other
with the song " 'S Wonderful" and a dance duet performed in the shallow water
at the edge of the sand. Then they begin to consider their plight.
BILLY: Edythe — we could be stranded here for years — someone's gonna beat
me to Paris.
EDYTHE: Does it really matter that much?
BILLY: Of course it does!
EDYTHE: What's the difference if you're first or not?
BILLY: Don't you realize what it's gonna be like for the first one who actually
does it? He'll be rich and famous, with parades and brass bands playing and his
picture on the cover of Time Magazine — isn't that what everybody wants?
EDYTHE: Not me, kid. Not me.
BILLY: Then why'd you swim the Channel?
EDYTHE: Someone told me to.
BILLY: You didn't want to be famous?
EDYTHE: What for? It isn't what other people think of you, Billy — it's what
you think. All the others really don't care about you. They just want to stare at
you — and touch you — and make money off you. They don't give a damn if you're
happy or not. You're the only one who cares about that. You and one other
person, if you're lucky. Just the two of you.
BILLY (staring at her, moved): I love you, kid.
EDYTHE: Oh, yeah?
BILLY: Uh huh. I do. I surely do love you, kid. Do you love me?
EDYTHE: It sure looks that way — (As they kiss. ) It sure feels that way. (Kiss
again. )
A ship appears and draws closer; then Mickey and Nikki disembark from it.
After seeing that Billy is safe and sound, Mickey's first thought is for the plane,
which may be repairable.
Seeing that Edythe is all right, Nikki orders her to return with him. Edythe
268 THE BEST PLAYS OF 1982-1983
protests that Nikki no longer has any hold on her, as she has escaped to foreign
soil. She is informed that they didn't get far in the plane — this island is Staten
Island, so she still has her passport problem. Besides, Nikki probably has brought
along those embarrassing photos to show Billy. Edythe turns to Billy with the
plea, '*Say it doesn't matter and I'll stay — " But Billy's reply is, "This guy doesn't
know what he's talking about. He doesn't know you," as though he took her
innocence for granted and could not imagine any alternative. This is not enough
for Edythe, who coolly bids him goodbye and departs with Nikki.
Mickey enters with good news: the Lone Star can be easily and quickly re-
paired.
MICKEY: A couple of days in the hangar and then it's Paris, France here
you come — you're going to make it, Captain. You're going to see more goddam
parades, confetti and brass bands than General John Blackjack Pershing put
together!
BILLY: Then what are you doing standing around here for, Mickey? We've got
work to do!
MICKEY: Aye, aye. Captain.
She runs off.
Billy faces the audience and sings "Strike Up the Band" solo, quietly, pensively.
Curtain.
ACT II
Scene 1: Aquacade
Nikki and his six Aquacade girls are rehearsing an elaborately-costumed
starfish number to the music of "In the Swim" and "What Are We Here For?".
After the number is over and the girls have departed, Edythe shows up, having
missed rehearsal. Nikki tries to sweet-talk her, but she has had enough of him
and brushes him off. Before leaving, Nikki can't help reminding Edythe that she
wasn't so hostile when he was making her a star. After he exits, Edythe sings
"Nice Work if You Can Get It" and departs, pointedly, in the opposite direction.
Scene 2: Mr. Magix's Emporial
Billy comes to Mr. Magix with a new problem: should he keep on giving Edythe
the "high hat" treatment because she seems to have had a somewhat checkered
past, even though Billy loves her? No, no, Mr. Magix advises him, "We're all
through using our heads — now it's strictly up to the heart." Billy and Edythe are
way past such approaches as "Soon," " 'S Wonderful" or "Blah, Blah, Blah." It's
truth-telling time, time for "My One and Only," as Mr. Magix demonstrates and
prompts Billy to follow him in a tap dance duet.
In compensation for Mr. Magix's valuable advice, Billy agrees to take him for
an airplane ride some day. Billy goes in search of Edythe but finds the Aquacade
company has checked out of their boarding house.
MY ONE AND ONLY 269
Scene 3: Pennsylvania Station
At the railroad station, Billy learns from the Aquacade girls that Edythe has
vanished and Nikki has disbanded the show. Edythe told one of the girls that
because of a movie she saw, "White Baggage of the Casbah," she decided to stow
away on a steamer headed for Morocco.
Scene 4: Billy's Hangar
Mickey is working on the Lone Star, at left, when Nikki enters brandishing a
pistol, demanding to be told Edythe's whereabouts. Nikki is momentarily dis-
tracted by Billy's entrance, and Mickey manages to draw her own pistol and wing
Nikki, who crumples to the floor.
BILLY: Mickey! You just shot the Prince!
MICKEY: He isn't a prince, he isn't even a Georgian really, although his father
was. His name is Joseph TchatchavilU. In 1910 he was a petty thief and gym
instructor working resort towns along the Baltic. Soon afterwards, he joined up
with some Menshevik adventurers acting as a sort of bouncer at many of their
rallies. Arrested for arson by the Stalinist police, he was turned into a spy and
sent to England as a swimming teacher, and finally to the U.S. of A. where he
was ordered to make sure no American flew to Paris, France first. Oh we've been
looking for him, I can tell you that.
BILLY: What are you saying, Mickey? How do you know all that stuff?
MICKEY (showing her badge): I'm a Fed, Captain — Agent Lucy Ann Fergus-
son, at your service. There's been one of us assigned to protect every plane that's
in the running. It's been a top government priority, Captain — we've been after
this bozo for some time.
BILLY: Gosh, I'd really like to hear more about this, Mickey, I mean, Lucy
Ann, but I'm in too much of a hurry right now. I've just gotta find Edythe and
tell her she's my one and only.
NIKKI (from the floor): Wanting to see one and only? Miss Edythe Herbert —
Produces photographs from his pocket and offers them to Billy.
See how you like these old photographs —
Billy takes them and studies them for a moment.
BILLY (finally): I like 'em.
Billy goes to get into his plane; the motor is heard as it disappears and takes
off-.
Mickey checks her prisoner's wound and finds it not serious. She has been on
his case so long and knows so much about him that she is almost sorry she has
to take him downtown to book him; and Nikki is kind of glad that it's Mickey
who caught him. They express themselves to each other by singing 'Tunny Face."
Scene 5: Club Oasis
At the edge of the Sahara, Legionnaires and their women are carousing. Billy
enters leading a camel and telling the club owner, Achmed, that he is looking for
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Examples of Rita Ryack's costume designs for My One and Only are pictured here. On
opposite page are the designer's sketches for the chorus's starfish costumes in the "In the
Swim" number. On this page are sketches of Tommy Tune's elegant evening clothes in
the musical's finale
a certain girl and has tracked her here. Achmed lines up the girls, who are all
veiled, so that Billy can't see whether one of them is Edythe. So he sings "My
One and Only" to the whole group. He is interrupted by a Legionnaire, who calls
their attention to a radio announcement. It is the voice of Lowell Thomas telling
the world that Lindbergh made it to Paris. Amid the cheers from everyone,
Edythe steps out of the line of girls, takes off her veil and approaches Billy.
BILLY (smiles): Are you all right?
EDYTHE: Sure. Are you all right?
BILLY: I am now.
272 THE BEST PLAYS OF 1982-1983
EDYTHE: I'm sorry about Lindbergh. I know how much it meant to you. You
must feel awful.
BILLY: You mean because of him beatin' me across the Atlantic?
EDYTHE: Yes.
BILLY: He didn't.
EDYTHE: What do you mean?
BILLY: I got here three days ago. Non-stop from New York to Morocco in
twenty-nine hours and fourteen minutes.
EDYTHE: Go on.
BILLY: I flew right over Paris, France — I coulda touched down but my heart
just wasn't in it. I was in too big a hurry to find you.
EDYTHE: So you really were the first —
BILLY: Just hke I promised.
EDYTHE: But nobody knows it.
BILLY: Except me. / know it. Isn't that what you said, Edythe? I'm the only
one who really cares — me and one other person if I'm lucky? Am I lucky, Edythe?
(She turns away) Come back with me —
EDYTHE (very quietly): No, my place is here. I must remain what I have become
— White Baggage of the Casbah.
BILLY: Edythe — I forgive you.
EDYTHE (wheeling): But I don't forgive you! You let me go! We were happy,
Captain — don't you know how little of that there is?
BILLY: I do now. (He moves to her.) I had twenty-nine hours and fourteen
minutes to think things over. What right did I have anyway, expecting anyone
as wonderful as you — a gift to this earth — to be sittin' around all those years just
waitin' for me? We can't be judgin' one another — we live the only way we can.
Shoot, just gettin' from one day to the next deserves brass bands and confetti. And
the past doesn't mean a thing once you've got a present. You're my present,
Edythe. A gift to this earth. Marry me. Please.
Billy drops to one knee and emphasizes his request with a verse of "My One
and Only." It is obvious what Edythe's reply is going to be.
Scene 6: The Uptown Chapel
The Rt. Rev. Mongomery appears with his deacons swinging their censers and
joined by the Aquacade girls for a song and dance, "Kickin' the Clouds Away."
Billy and Edythe appear dressed as bride and groom, and Montgomery performs
his unique version of the wedding ceremony. Finally, Billy and Edythe are left
alone to sing "How Long Has This Been Going On?" to each other. Edythe
remembers to throw her bridal bouquet to the audience, and Billy carries her
upstage as the curtain falls.
As an encore, taking their bows, the entire cast lines up on the stage for a song
and dance number, "Strike Up the Band!"
A GRAPHIC GLANCE
Tommy Tune in My One and Only
Charles "Honi" Coles in My One and Only
Dana Ivey (above) and Remak Ramsay
in Quartermaine's Terms
John Rubinstein (left) and Michael Moriarty in the
revival of The Caine Mutiny Court-Martial
Edmund Lyndeck, Betsy Joslyn,
Barbara Lang, Peter Gallagher and George Hearn in A Doll's Life
Betty Buckley in Cats
Stephen Hanan in Cats
I
James Russo and Farrah Fawcett in Extremities
Jeffrey De Munn in K2
Doug Henning, Chita Rivera, Rebecca Wright and Nathan Lane in Merlin
Lara Teeter and Natalia Makarova in the revival of On Your Toes
Dina Merrill in the revival
of On Your Toes
Al Green in Your Arms Too Short to Box With God
I
Fritz Weaver (left) and Barnard Hughes in Angels Fall
(Clockwise from bottom left) Reed Jones, Anna McNeely, Timothy Scott, Kenneth
Ard, Terrence V. Mann, Stephen Hanan, Christine Langner, Rene Clemente and
Ken Page in Cats
Christine Lahti in the revival
of Present Laughter
George C. Scott in the revival of Present Laughter
\
David Rounds in Herringbone
Lynn Milgrim in Talking With
Polly Pen in Charlotte Sweet
John Neville, Kevin Spacey and Liv Ullmann in the revival of Ghosts
Gary Sinise (above) and John Malkovich in True West
Liz Robertson, George Rose and Len Cariou in Dance a Little Closer
Elizabeth Taylor and Richard Burton in the revival of Private Lives
Roxanne Hart in Passion
^
Trey Wilson in
I
(Clockwise from bottom left) Mandy Ingber, Joyce Van Patten,
Elizabeth Franz, Matthew Broderick (center), Jodi Thelen, Peter
Michael Goetz and Zeljko Ivanek in Brighton Beach Memoirs
Mary Beth Hurt in The Misanthrope
Thuli Dumakude in Poppie Nongena
Kevin Bacon in Slab Boys
(Left to right) Lonette McKee, Avril Gentles, Bruce Hubbard, Donald O'Connor
(center), Karla Burns, Sheryl Woods and Ron Raines in the revival of Showboat
George Martin in Plenty
Edward Herrmann in Plenty
Jane Alexander, Karen Allen and William Converse-Roberts
in Monday After the Miracle
WMHINtfoH
James Coco in the revival of
You Can't Take It With You
Nancy Marchand in Sister Mary Ignatius
Explains It All for You
Mark Hamill in Amadeus
Naomi Moody, Larry Marshall and Michael V.
Smartt in the revival of Porgy and Bess
Debbie Reynolds in Woman of the Year
Raquel Welch in Woman of the Year
Mark Linn-Baker, Robert Joy, Bob Gunton and John Vickery in The Death of Von
Richtofen as Witnessed From Earth
I
Ellen Greene in Little Shop of Horrors
Joseph Maher in 84 Charing Cross Road
Julie Hageny in Wild
''*^,^'^>f' V'
Hume Cronyn, Keith Carradine and
Jessica Tandy in Foxfire
Eli Wallach and Anne Jackson
in Twice Around the Park
PLAYS PRODUCED
IN NEW YORK
PLAYS PRODUCED ON BROADWAY
Figures in parentheses following a play's title give number of performances.
These figures are acquired directly from the production offices and do not include
previews or extra non-profit performances. In the case of a transfer, the off-
Broadway run is noted but not added to the figure in parentheses.
Plays marked with an asterisk (*) were still running on June 1, 1983. Their
number of performances is figured through May 31, 1983.
In a listing of a show's numbers — dances, sketches, musical scenes, etc. — the
titles of songs are identified wherever possible by their appearance in quotation
marks (").
HOLDOVERS FROM PREVIOUS SEASONS
Plays which were running on June 1, 1982 are listed below. More detailed
information about them appears in previous Best Plays volumes of appropriate
years. Important cast changes since opening night are recorded in the Cast
Replacements section of this volume.
*A Chorus Line (3,249). Musical conceived by Michael Bennett; book by James Kirk-
wood and Nicholas Dante; music by Marvin Hamlisch; lyrics by Edward Kleban. Opened
April 15, 1975 off Broadway where it played 101 performances through July 13, 1975;
transferred to Broadway July 25, 1975.
*Oh! Calcutta! (2,840). Revival of the musical devised by Kenneth Tynan; with contribu-
tions (in this version) by Jules Feiffer, Dan Greenberg, Lenore Kandel, John Lennon,
Jacques Levy, Leonard Melfi, David Newman and Robert Benton, Sam Shepard, Clovis
Trouille, Kenneth Tynan and Sherman Yellen; music and lyrics (in this version) by Robert
Dennis, Peter Schickele and Stanley Walden; additional music by Stanley Walden and
Jacques Levy. Opened September 24, 1976 in alternating performances with Me and
Bessie through December 7, 1976, continuing alone thereafter.
Annie (2,377). Musical based on the Harold Gray comic strip Little Orphan Annie; book
by Thomas Meehan; music by Charles Strouse; lyrics by Martin Charnin. Opened April
21, 1977. (Closed January 2, 1983.)
Deathtrap (1,793). By Ira Levin. Opened February 26, 1978. (Closed June 13, 1982).
Dancin* (1,774). Musical with music and lyrics by Johann Sebastian Bach, Ralph
Burns, George M. Cohan, Neil Diamond, Bob Haggart, Ray Bauduc, Gil Rodin and Bob
Crosby, Jerry Leiber and Mike Stoller, Johnny Mercer and Harry Warren, Louis
Prima, John Philip Sousa, Carole Bayer Sager and Melissa Manchester, Barry Mann and
Cynthia Weil, Felix Powell and George Asaf, Cat Stevens, Edgar Varese and Jerry Jeff
Walker. Opened March 27, 1978. (Closed June 27, 1982.)
The Best Little Whorehouse in Texas (1,639). Musical with book by Larry L. King and
Peter Masterson; music and lyrics by Carol Hall. Opened April 17, 1978 off Broadway
329
330 THE BEST PLAYS OF 1982-1983
where it played 64 performances through June 1 1, 1978; transferred to Broadway June 19,
1978. (Closed March 27, 1982 after 1,576 performances) Reopened May 31, 1982. (Closed
July 24, 1982 after 63 additional performances)
*Evita (1,535). Musical with book by Andrew Lloyd Webber; lyrics by Tim Rice. Opened
September 25, 1979.
Sugar Babies (1,208). Burlesque musical conceived by Ralph G. Allen and Harry
Rigby; sketches by Ralph G. Allen based on traditional material. Opened October 8, 1979.
(Closed August 28, 1982)
*42nd Street (1,154). Musical based on the novel by Bradford Ropes; book by Michael
Stewart and Mark Bramble; music and lyrics by Harry Warren and Al Dubin; other lyrics
by Johnny Mercer and Mort Dixon. Opened August 25, 1980.
♦Amadeus (1,022). By Peter Shaffer. Opened December 17, 1980.
The Pirates of Penzance (772). Revival of the operetta with book and lyrics by W. S.
Gilbert; music by Arthur Sullivan. Opened July 15, 1980 off Broadway (Delacorte Thea-
ter) where it played 42 performances; transferred to Broadway January 8, 1981. (Closed
November 28, 1982)
Sophisticated Ladies (767). Musical revue conceived by Donald McKayle, based on the
music of Duke Ellington. Opened March 1, 1981. (Closed January 2, 1983)
Woman of the Year (770). Musical based on the M-G-M film by Ring Lardner Jr. and
Michael Kanin; book by Peter Stone; music by John Kander; lyrics by Fred Ebb. Opened
March 29, 1981. (Closed March 13, 1983)
Lena Home: The Lady and Her Music (333). Musical revue designed as a concert by Lena
Home. Opened May 12, 1981. (Closed June 30, 1982)
Crimes of the Heart (535). By Beth Henley. Opened November 4, 1981. (Closed February
13, 1983)
*Dreamgirls (601). Musical with book and lyrics by Tom Eyen; music by Henry Krie-
ger. Opened December 20, 1981.
♦Joseph and the Amazing Technicolor Dreamcoat (638). Revival of the musical based on
the Old Testament story; music by Andrew Lloyd Webber; lyrics by Tim Rice. Opened
November 18, 1981 off Broadway where it played 77 performances; transferred to Broad-
way January 27, 1982.
♦Pump Boys and Dinettes (553). Musical with music and lyrics by Jim Wann, John
Foley, Mark Hardwick, Debra Monk, Cass Morgan and John Schimmel. Opened October
1, 1981 off Broadway where it played 112 performances; transferred to Broadway Febru-
ary 4, 1982.
Encore (288). Radio City Music Hall Golden Jubilee Spectacular. Opened March 26, 1982.
(Closed September 6, 1982)
♦Agnes of God (486). By John Pielmeier. Opened March 30, 1982.
Medea (65). Revival of the play by Euripides; adapted by Robinson Jeffers. Opened May
2, 1982. (Closed June 27, 1982)
"MASTER HAROLD" ... and the boys (344). By Athol Fugard. Opened May 4, 1982.
(Closed February 26, 1983)
PLAYS PRODUCED ON BROADWAY 331
♦Nine (441). Musical with book by Arthur Kopit; music and lyrics by Maury Yeston;
adaptation from the Italian by Mario Fratti. Opened May 9, 1982.
Beyond Therapy (11). Revised version of the play by Christopher Durang. Opened May
26, 1982. (Closed June 12. 1982)
PLAYS PRODUCED JUNE 1, 1982-MAY 31, 1983
Blues in the Night (53). Musical conceived by Sheldon Epps; music and lyrics by various
composers and lyricists. Produced by Mitchell Maxwell, Alan J. Schuster, Fred H.
Krones and M2 Entertainment, Inc. at the Rialto Theater. Opened June 2, 1982. (Closed
July 18, 1982)
Woman #1 Leslie Uggams Woman #3 Jean Du Shon
Woman #2 Debbie Shapiro Saloon Singer Charles Coleman
Standbys: Women — Ann Duquesnay; Mr. Coleman — David Brunetti.
Directed by Sheldon Epps; musical direction, supervision and vocal arrangements, Chapman
Roberts; co-musical direction, arrangements and orchestrations, Sy Johnson; scenery, John Fala-
bella; costumes, David Murin; lighting. Ken Billington; associate producers, Joshua Silver, Elaine
Brownstein; production stage manager, Zoya Wyeth; stage manager, William D. Buxton Jr.; press,
Judy Jacksina, Glenna Freedman, Diane Tomlinson, Susan Chicoine, Lorin Klaris.
Time: 1938. Place: A hotel in Chicago. The play was presented in two parts.
Concert-style show, with three women telling their troubles in the form of 24 song numbers, most
of them blues, in a run-down Chicago hotel in the 1930s.
MUSICAL NUMBERS, ACT I: "Blues Blues" (by Bessie Smith)— Company; "Four Walls (and
One Dirty Window) Blues" (by Willard Robison)— Charles Coleman; "I've Got a Date With a
Dream" (by Mack Gordon and Harry R.evel) — Leslie Uggams, Debbie Shapiro; "These Foolish
Things Remind Me of You" (by Harry Link, Jack Strachey and Holt Marvell) — Uggams; "New
Orleans Hop Scop Blues" (by George W. Thomas) — Jean Du Shon; "It Makes My Love Come Down"
(by Bessie Smith) — Uggams, Shapiro, Du Shon; "Copenhagen" (by Walter Melrose and Charlie
Davis) — Shapiro.
Also "Wild Women Don't Have the Blues" (by Ida Cox) — Coleman; "Lover Man" (by Jim-
my Davis, Roger Ramirez and Jimmy Sherman) — Uggams; "Take Me for a Buggy Ride" (by
Leola and Wesley Wilson) — Du Shon; "Willow Weep for Me" (by Ann Ronell) — Shapiro; "Kitch-
en Man" (by Andy Razaf and Alex Bellenda) — Du Shon; "Low" (by Vernon Duke, Milton
Drake and Ben Oakland) — Uggams; "Take It Right Back" (by H. Grey) — Uggams, Shapiro, Du
Shon.
ACT II: "Wild Women Don't Have the Blues" (Reprise)— The Band; "Blues in the Night" (by
Johnny Mercer and Harold Arlen) — Uggams, Shapiro; "Dirty No Gooder Blues" (by Bessie Smith)
— Du Shon; "When a Woman Loves a Man" (by Johnny Mercer, Bernard Hanighen and Gordon
Jenkins) — Coleman; "Am I Blue" (by Grant Drake and Harry Akst) — Uggams, Shapiro, Du Shon;
"Rough and Ready Man" (by Alberta Hunter) — Uggams.
Also "Reckless Blues" (by Bessie Smith) — Shapiro; "Wasted Life Blues" (by Bessie Smith) — Du
Shon; "Baby Doll" (by Bessie Smith) — Coleman; "Nobody Knows You When You're Down and
Out" (by Jimmy Cox, vocal arrangement by Sy Johnson) — Uggams, Shapiro, Du Shon; "I Gotta
Right to Sing the Blues" (by Ted Koehler and Harold Arlen) — Uggams, Shapiro, Du Shon; "Blues
Blues/Blues in the Night" (Reprise) — Uggams, Shapiro, Du Shon.
*Torch Song Trilogy (408). Transfer from off Broadway of the play by Harvey Fier-
stein. Produced by Kenneth Waissman, Martin Markinson, John Glines and Lawrence
Lane with BetMar and Donald Tick in the Glines production at the Little Theater. Opened
June 10, 1982.
332 THE BEST PLAYS OF 1982-1983
Lady Blues Susan Edwards Alan Paul Joynt
Arnold Beckoff Harvey Fierstein David Fisher Stevens
Ed Court Miller Mrs. Beckoff Estelle Getty
Laurel Diane Tarleton
Standbys: Mr. Fierstein — Richard DeFabees; Mr. Miller — Peter Ratray. Understudies: Miss Tarle-
ton— Susan Edwards; Miss Edwards — Diane Tarleton; Messrs. Joynt, Stevens — Christopher
Stryker; Miss Getty — Sylvia Kauders; keyboard understudy — Scott Oakley.
Directed by Peter Pope; scenery, Bill Stabile; costumes, Mardi Philips; lighting, Scott Pinkney;
musical direction and arrangements for The International Stud, Ned Levy; original music for Fugue
in a Nursery, Ada Janik; associate producer, Howard Perloff; production stage manager, Herb
Vogler; press, Betty Lee Hunt, Maria Cristina Pucci, James Sapp.
Part I: The International Stud — 1. January. Arnold backstage at nightclub. 2. February. Ed in the
"International Stud" bar. 3. June. Ed and Arnold in their respective apartments. 4. September. Arnold
in the "International Stud" bar. 5. November. Ed and Arnold backstage.
Part II: Fugue in a Nursery — Time, one year later. Place, Arnold's apartment and various rooms
of Ed's farmhouse.
Part III: Widows and Children First! — Time, five years later. 1. Arnold's apartment, 7 a.m. on
a Thursday in June. 2. Same, 5 p.m. that day. 3. A bench in the park below, immediately following.
4. The apartment, 6 a.m. the next morning.
Three related one-acters about the emotional adventures of a drag queen in a four-and-one-half-
hour context. Previously produced off Broadway 1/15/82 where it played 117 performances through
5/30/82 and was named a Best Play of its season.
Barbara Barrie replaced Estelle Getty 1/31/83-2/12/83.
Cleavage (1). Musical with book by Buddy and David Sheffield; music and lyrics by Buddy
Sheffield. Produced by Up Front Productions at the Playhouse Theater. Opened and closed
at the evening performance June 23, 1982.
Daniel David Jay Rogers
Tom Elias Sharon Scruggs
Mark Fite Dick Sheffield
Terese Gargiulo Pattie Tierce
Marsha Trigg Miller
Directed by Rita Baker; musical numbers staged by Alton Geno; arrangements, Keith Thomp-
son; scenery, Morris Taylor; costumes, James M. Miller; lighting and scenic and costume supervision,
Michael Hotopp and Paul de Pass; production stage manager, Gary Ware; stage manager, Arlene
Grayson; press, Susan L. Schulman.
Orchestra: Keith Thompson conductor, keyboards; Philip Fortenberry piano, synthesizer; Jeff
Myers bass; Howard Joines drums.
The pursuit of love by various couples, young and old.
MUSICAL NUMBERS, ACT I: "Cleavage"— Ensemble; "Puberty"— Mark Fite, Ensemble;
"Only Love" — Sharon Scruggs, Daniel David; "Surprise Me" — Terese Gargiulo; "Reprise Me" —
Gargiulo, Fite; "Boys Will Be Girls" — Jay Rogers, Dancers; "Give Me an And" — Marsha Trigg
Miller, Dancers; "Just Another Song" — Fite; "Believe in Me, or I'll Be Leavin' You" — Pattie Tierce,
Dick Sheffield.
ACT II: "The Thrill of the Chase"— Tom Elias, Fite, David; "Lead 'Em Around by the Nose"
— Miller, Tierce, Gargiulo; "Only Love" (Reprise) — Gargiulo; "Bringing Up Badger" — David, En-
semble; "Voices of the Children" — Ensemble; "All the Lovely Ladies" — Elias; "Living in Sin" —
Elias, Tierce, Ensemble; Finale — Ensemble.
Play Me a Country Song (1). Musical with book by Jay Broad; music and lyrics by John
R. Briggs and Harry Manfredini. Produced by Frederick R. Selch at the Virginia Theater.
Opened and closed at the evening performance, June 27, 1982.
PLAYS PRODUCED ON BROADWAY 333
Norm Reed Jones Frances Karen Mason
Ellen Mary Gordon Murray Penny Mary Jo Catlett
Tony Stephen Grain Buster Kenneth Ames
Fred Jay Huguely Meg Candace Tovar
Howard Ronn Carroll Jerome Rene Clemente
Lizzie Louisa Flaningam Hank Rick Thomas
Directed by Jerry Adler; choreography, Margo Sappington; musical direction and vocal arrange-
ments, Phil Hall; scenery, David Chapman; costumes, Carol Oditz; lighting. Marc B. Weiss; sound,
Robert Kerzman; associate producer, Cheryl Raab; stage managers, Alisa Adler, Jonathan
Weiss; press, Alpert/LeVine, Mark Goldstaub.
A bundle of country songs packaged as an all-night party in a favorite truck-stop saloon that is
about to close.
MUSICAL NUMBERS, ACT L "Sail Away," "Rodeo Dreams," "Why Does a Woman Leave Her
Man?", "Eighteen-Wheelin' Baby," "Waitin' Tables," "Playing for Position," "Just Thought I'd
Call," "Sing-a-Long," "If You Don't Mind," "Play Me a Country Song."
ACT II: "Coffee, Beer and Whiskey," "Only a Fool," "You Can't Get Ahead," "You Have to
Get It Out to Get Away," "Big City," "My Sweet Woman," "All of My Dreams," "Rodeo
Rider."
Seven Brides for Seven Brothers (5). Musical based on the M-G-M film and The Sobbin'
Women by Stephen Vincent Benet; book by Lawrence Kasha and David Landay; music
by Gene de Paul; lyrics by Johnny Mercer; new songs by Al Kasha and Joel Hirsch-
horn. Produced by Kaslan Productions, Inc. at the Alvin Theater. Opened July 8, 1982.
(Closed July 11, 1982)
Adam David-James Carroll Martha Laurel van der Linde
Benjamin D. Scot Davidge Sarah Linda Hoxit
Ephraim Jeffrey Reynolds Liza Jan Mussetter
Caleb Lara Teeter Alice Nancy Fox
Daniel Jeff Calhoun Dorcas Manette LaChance
Frank Michael Ragan Jeb Russell Giesenschlag
Gideon Craig Peralta Zeke Kevin McCready
Mr. Bixby Fred Curt Carl Don Steffy
Mrs. Bixby Jeanne Bates Matt Gary Moss
Preacher Jack Ritschel Luke James Horvath
Mr. Perkins Gino Gaudio Joel Clark Sterling
Indian Conley Schnaterbeck Dorcas's Sister Marylou Hume
Milly Debby Boone Mrs. Perkins Marykatherine Somers
Ruth Sha Newman Townsboy David Pavlosky
Lumbermen: James Horvath, Russell Giesenschlag, Don Steffy, Gary Moss, Clark Sterling, Kevin
McCready.
Townspeople. Jeanne Bates, Cheryl Crandall, Fred Curt, Gino Gaudio, Russell Giesenschlag,
James Horvath, Marylou Hume, Kevin McCready, Gary Moss, David Pavlosky, Jack Ritschel,
Conley Schnaterbeck, Sam Singhaus, Marykatherine Somers, Don Steffy. Clark Sterling, Stephanie
Stromer.
Understudies: Miss Boone — Cheryl Crandall; Messrs. Carroll, Ritschel — Gino Gaudio; Mr.
Peralta — Russell Giesenschlag; Mr. Calhoun — Gary Moss; Mr. Davidge — Don Steffy; Mr. Ragan —
Kevin McCready; Mr. Reynolds — Clark Sterling; Mr. Teeter — James Horvath; Misses Fox, Hoxit —
Marylou Hume; Misses LaChance, Newman, Bates — Marykatherine Somers; Misses Mussetter, van
der Linde — Stephanie Stromer; Messrs. Horvath, McCready — David Pavlosky; Messrs. Steffy, Moss
— Conley Schnaterbeck; Messrs. Giesenschlag, Sterling — Sam Singhaus; Messrs. Curt, Gaudio — Jack
Ritschel; Miss Somers — Jeanne Bates; Alternates — Stephanie Stromer, Sam Singhaus; Orchestra
Personnel — Earl Shendel.
Directed by Lawrence Kasha; choreography and musical staging, Jerry Jackson; musical direction,
Richard Parrinello; scenery, Robert Randolph; costumes, Robert Fletcher; lighting, Thomas Skel-
334 THE BEST PLAYS OF 1982-1983
ton; sound, Abe Jacob; orchestrations, Irwin Kostal; dance arrangements, Robert Webb; associate
producers, Martin Gould, Bernard Hodes; production stage manager, Larry Dean; stage manager,
Polly Wood; press, David A. Powers, Barbara Carroll.
Time: The 1850s. Place: The Pacific Northwest.
Stage version of the 1954 movie musical choreographed by Michael Kidd, about a frontier family
of brothers gradually tamed by women.
ACT I
On the road
"Bless Your Beautiful Hide" Adam
The town square
The restaurant
"Wonderful, Wonderful Day" Milly, Brides
The Pontipee house
♦"One Man" Milly
The Pontipee house, later the same evening
The Pontipee house, the next morning
"Goin' Courting" Milly, Brothers
Churchyard
"Social Dance" Milly, Adam, Bride, Brothers Suitors, Townspeople
The road home
The Pontipee House
*"Love Never Goes Away" Adam, Milly, Gideon
The barn
"Sobbin' Women" Adam, Brothers
ACT II
The town
Echo Pass
*"The Townsfolk's Lament" Suitors, Townspeople
The Pontipee yard
*"A Woman Ought to Know Her Place" Adam
The barn
♦"We Gotta Make It Through the Winter" Brothers
♦"You Gotta Make It Through the Winter" (Reprise) Milly, Brides
The Pontipee yard
♦"Spring Dance" Brides, Brothers
The trapping cabin
♦"A Woman Ought to Know Her Place" (Reprise) Adam, Gideon
The Pontipee house
♦"Glad That You Were Born" Milly, Brides, Brothers
The woods
Churchyard
"Wedding Dance" Milly, Adam, Brides, Brothers, Townspeople
♦Asterisks signify new songs written for this production
*Circle in the Square. Schedule of four revivals. Present Laughter (180). By Noel
Coward. Opened July 15, 1982. (Closed January 2, 1983) The Queen and the Rebels (45).
By Ugo Betti; translated by Henry Reed. Opened September 30, 1982. (Closed November
7, 1982) The Misanthrope (69). By Moliere; English verse translation by Richard Wil-
bur. Opened January 27, 1983. (Closed March 27, 1983) *The Caine Mutiny Court-
Martial (30). By Herman Wouk. Co-produced by Kennedy Center in the Hartman Thea-
ter production. Opened May 5, 1983. Produced by Circle in the Square, Theodore
Mann artistic director, Paul Libin managing director, at Circle in the Square Theater
(The Queen and the Rebels at the Plymouth Theater).
I
THE CAINE MUTINY COURT-MARTIAL— Mi-
chad Moriarty as Queeg in Circle in the Square's
revival of the play by Herman Wouk
PRESENT LAUGHTER
Daphne Stillington Kate Burton
Miss Erikson Bette Henritze
Fred Jim Piddock
Monica Reed Dana Ivey
Garry Essendine George C. Scott
Liz Essendine Elizabeth Hubbard
Roland Maule Nathan Lane
Henry Lyppiatt Richard Woods
Morris Dixon Edward Conery
Joanna Lyppiatt Christine Lahti
Lady Saltburn Georgine Hall
Standby: Mr. Scott — Mart Hulswit. Understudies: Misses Burton, Hentritze — Linda Noble;
Messrs. Piddock, Lane — Jerry Mettner; Misses Lahti, Hubbard, Ivey, Hall — Elizabeth Perry.
Directed by George C Scott; scenery, Marjorie Bradley Kellogg; costumes, Ann Roth; lighting,
Richard Nelson; production stage manager, Michael F. Ritchie; stage manager, Duncan Scott; press,
Merle Debuskey, David Roggensack.
Time: Sometime before World War H. Place: London. Act L Garry Essendine's studio about 10:30
A.M. Act n. Scene 1: Midnight, three days later. Scene 2: The next morning, about 10:30 a.m. Act
IIL a week later, 10 p.m.
Present Laughter was first produced on Broadway 10/29/46 for 158 performances. Its only previ-
ous revival was on Broadway 1/31/58 for 6 performances.
336 THE BEST PLAYS OF 1982-1983
THE QUEEN AND THE REBELS
Porter Sean Griffin Gen. Biante Clarence Felder
Traveller Peter Michael Goetz Maupa Anthony DeFonte
Engineer Donald Gantry Elizabetta Betty Miller
Raim Scott Hylands Boy Christopher Garvin
Argia Colleen Dewhurst
Travellers: Jeffrey Holt Gardner, Jack R. Marks, Etain O'Malley, Fiddle Viracola. Soldiers: Marek
Johnson, Campbell Scott, Stanley Tucci.
Directed by Waris Hussein; scenery, David Jenkins; costumes, Jane Greenwood; lighting, John
McLain; produced by special arrangement with Ken Marsolais and Lita Starr; production stage
manager, Ken Marsolais; stage manager. Buzz Cohen.
Time: The present. Place: A large hall in the main public building of a hillside village. The play
was presented in two parts.
This translation of The Queen and the Rebels was previously produced in London and in Purchase,
N.Y. The last New York production of this play was off Broadway 2/25/65 for 22 performances.
THE MISANTHROPE
Philinte Stephen D. Newman Clitandre Munson Hicks
Alceste Brian Bedford Acaste George Pentecost
Oronte David Schramm Guard Steve Hendrickson
Celimene Mary Beth Hurt Arsinoe Carole Shelley
Basque Duffy Hudson Dubois Stanley Tucci
Eliante Mary Layne
Understudies: Messrs Newman, Schramm, Hicks, Hudson — Steve Hendrickson; Mr. Tucci — Duffy
Hudson; Messrs. Bedford, Pentecost — Stanley Tucci; Mr. Hendrickson — A. Robert Scott. Standby:
Misses Shelley, Hurt, Layne — Pamela Lewis.
Directed by Stephen Porter; scenery, Marjorie Bradley Kellogg; costumes, Ann Roth; lighting,
Richard Nelson; wigs. Peg Schierholz; production stage manager, Michael F. Ritchie; stage manager,
A. Robert Scott.
Place: Celimene's house in Paris. The play was presented in two parts.
The last major New York revival of The Misanthrope took place off Broadway in the Comedie
Frangaise production in French 5/1/79 for 10 performances. Its last major New York production
in English was a musical adaptation of Richard Wilbur's version off Broadway 10/5/77 for 63
performances.
Stephen McHattie replaced Brian Bedford 3/8/83.
THE CAINE MUTINY COURT-MARTIAL
Lt. Greenwald John Rubinstein Lt. Keefer J. Kenneth Campbell
Lt. Maryk Jay O. Sanders Signalman 3d Class Urban .... Jace Alexander
Stenographer Tom Paliferro Lt. J.G. Keith Jonathan Hogan
Orderly Richard Arbohno Capt. Southard Brad Sullivan
Lt. Cmdr. Challee William Atherton Dr. Lundeen Leon B. Stevens
Capt. Blakely Stephen Joyce Dr. Bird Geoffrey Home
Lt. Cmdr. Queeg Michael Moriarty
Six Members of the Court: Clinton Allmon, Warren Ball, Chad Burton, Sam Coppola, Daniel
Davin, OHver Dixon. Officers of the Caine: Clinton Allmon, Chad Burton, Sam Coppola.
Understudies: Messrs. Sullivan, Stevens — Sam Coppola; Mr. Home — Tom Paliferro; Mr. Moriarty
— Geoffrey Home; Mr. Rubinstein — Michael Moriarty; Mr. Joyce — Chad Burton; Messrs. Campbell,
Hogan — Clinton Allmon; Messrs. Atherton, Alexander, Paliferro — Richard Arbolino.
Directed by Arthur Sherman; scenery, John Falabella; costumes, David Murin; lighting, Richard
Nelson; production stage manager, Michael F. Ritchie; stage manager, Jace Alexander.
Time: February 1945. Place: The General Court-Martial Room of the Twelfth Naval District, San
Francisco, and a banquet room in the Fairmont Hotel, San Francisco. Act I: The prosecution. Act
II, Scene 1: The defense. Scene 2: The Fairmont Hotel.
GHOSTS — John Neville and Liv Ullmann in the Ibsen revival
The Caine Mutiny Court-Martial was first produced on Broadway 1/20/54 for 415 performances
and was named a Best Play of its season. This is its first major New York revival.
Ghosts (40). Revival of the play by Henrik Ibsen; adapted by Arthur Kopit. Produced by
the John F. Kennedy Center, CBS Broadcast Group and James M. Nederlander at the
Brooks Atkinson Theater. Opened August 30, 1982. (Closed October 2, 1982)
Regina Engstrand Jane Murray Mrs. Helen Alving Liv Ullmann
Jacob Engstrand Edward Binns Oswald Alving Kevin Spacey
Pastor Manders John Neville
Standbys: Messrs. Neville, Binns — Tom Klunis; Miss Murray — Madeleine Potter; Mr. Spacey —
John Bellucci.
Directed by John Neville; scenery, Kevin Rupnik; costumes, Theoni V. Aldredge; lighting, Martin
Aronstein; produced for the Kennedy Center by Roger L. Stevens and Ralph Alien; production stage
manager, Mitchell Erickson; stage manager, John Hand; press, John Springer Associates, Meg
Gordean.
Place: Mrs. Alving's country house beside one of the large fjords in western Norway. The play was
presented in two parts.
The last major New York revival of Ghosts took place off Broadway in the Shaliko Company guest
production at New York Shakespeare Festival Public Theater 3/6/75 for 37 performances. This
production originated at the Eisenhower Theater, Washington, D.C.
K
338 THE BEST PLAYS OF 1982-1983
Your Arms Too Short to Box With God (70). Return engagement of the musical conceived
from the Book of St. Matthew by Vinnette Carroll; music and lyrics by Alex Brad-
ford and Micki Grant. Produced by Barry and Fran Weissler in association with Anita
MacShane and the Urban Arts Theater at the Alvin Theater. Opened September 9, 1982.
(Closed November 7, 1982)
Julius Richard Brown Elmore James
Nora Cole Linda James
Jamil K. Garland Tommi Johnson
Elijah Gill Patti LaBelle
L. Michael Gray Janice Nunn Nelson
Al Green Dwayne Phelps
Ralf Paul Haze Quincella
Cynthia Henry Kiki Shepard
Bobby Hill Leslie Hardesty Sisson
Rufus E. Jackson Marilynn Winbush
Directed by Vinnette Carroll; choreography, Talley Beatty; musical direction and arrangements,
Michael Powell; scenery and costumes, William Schroder; lighting, Richard Winkler; sound, R.
Shepard, J. Esher; orchestrations and dance music, H.B. Barnum; choreography restaged by Ralf Paul
Haze; associate producer, Jerry R. Moore; stage manager, Jonathan Weiss; press, Burnham-Callaghan
Associates, Owen Levy.
Your Arms Too Short to Box With God was produced on Broadway 12/22/76 for 429 performances
and 6/2/80 for 149 performances. Its list of musical numbers (including authorship of individual song
numbers) appears on page 299 of The Best Plays of 1976-77.
A Dollys Life (5). Musical with book and lyrics by Betty Comden and Adolph Green;
music by Larry Grossman. Produced by James M. Nederlander, Sidney L. Shlenker,
Warner Theater Productions, Joseph Harris, Mary Lea Johnson, Martin Richards and
Robert Fryer, in association with Harold Prince, at the Mark Hellinger Theater. Opened
September 23, 1982. (Closed September 26, 1982)
Nora Betsy Joslyn
Actor; Torvald; Johan George Hearn
Otto Peter Gallagher
Eric Edmund Lyndeck
Astrid Barbara Lang
Audition Singer; Selma; Jacqueline Penny Orloff
Conductor; Gustafson; Escamillo; Audition Singer; Loki; Mr. Zetterling Norman A. Large
Stagehand; Dr. Berg; Audition Singer; Ambassador David Vosburgh
Stage Manager; Hamsun; Petersen; Warden Nilson Michael Vita
Dowager Diane Armistead
Musician; Mr. Kloster Gordon Bovinet
Camilla Forrester Willi Burke
Asst. Stage Manager; Helga Patti Cohenour
Prison Guards John Corsaut, David Cale Johnson
Helmer's Maid; Waitress Carol Lurie
Musician; Waiter Larry Small
Waiter; Audition Singer; Muller Paul Straney
Maid; Widow Olga Talyn
Ivar Jim Wagg
Emmy Kimberly Stern
Bob David Seaman
Woman in White Lisa Peters
Woman in Red Ten Gill
PLAYS PRODUCED ON BROADWAY 339
Woman in Black Patrida PailEer
Man in Black David Evans
Uodersmdies: Miss Josl>-n — Patti Cdohenoiir: Mcbr. Heara, Ljndeck — Nonnan A. Large; Mr.
GaDagber— Larry Small; Miss Lang— Wilb Burke; Miss OrfelF— CMga Talyn, Sisa Raiken: Messrs.
Large. Vosbnrgh, Vita. Evans — Kevin Marcom: Miss Burke — Patricia Parker. Miss Gill — Lisa
Peters; Messrs. Wagg. Seaman. Miss Stem — Katie Ertmann: Swings — Sisa Raiken. Kevin Mar-
oun.
Directed by Harold Prince; clioreografrfiy. Larry Fuller; mosKal direction, Panl Gcmignani; sce-
nery, TiiDOthy O'Brien. Tazecna Firth; costmnes. Florence Klotz; lifting. Ken Billingtnn; ordiestra-
tioDS. Bill By ers; sound. Jack Mann; production stage manager. Beverley Randolph; stage manager.
Richard £%^ans; press, Mary Bryant, Becky Flora.
Sequel to Ibsen's A DolFs House, imagining what happened to Nora after she slarnmed the door
on her home and went out alone into the world of the 19th century. Previously produced in Los
Angeles.
ACT I
Scene i: .A rehearsal of Ibsen's A Doll's House, 1982
Prologue- . . Nora, Company
Scene 2: The train
**A Woman Alone** N^ra. Otta Conductor. Company
Scene 3: The Cafe Enropa
-Lener to the ChiUren" . . Nora
**New Year s Eve" Eric, Johan, Dr. Berg. Mr. Gustafeon
Scene 4: Street outside the Cafe Europa
Scene 5: Ono's room
•Suy With Me, Nora*" . Otto, Nora
Scene 6: Barkstagr at the opera
Scene 7: An opera reaKhng — the opera audition
" Anivar Astiid,
-^Loki and Bakfair^ Otto,
**Yoa Interest Me" Johan
"DeparTure" Astrid. Company
Scene 8: Otto's Room
**Lener From Klemnacfat** Astrid
"Learn To Be Lonely". . . . Nora
Scene 9: Caimery
'*Rats and Mice and Ftsh' Women
^;^ne 10: Prison
"Jailer, Jailer^y^Letter to the Cfaiklren" (Reprise) Nora. Women
Scene 11: The opera house
"'Excerpts from Loki and Baldur^ . Company
"Rare Wines" Eric, Nora
Acrn
Scene 1: Eric's bedroom
"No More Mornings" . . Nora
Scene 2: BiDiard room
•TTiere She Is" Johan. Eric Otto
-Power" Nora
Scene 3: Billiard Room, the next morning
"Letter to the Children" (Reprise) . . Nora
"At Last" . . Johan
Scene 4: The Grand Cafe (spring, fdl winter)
"The Grand Cafe" Company
Scene 5: The living room
Fmale. - Company
340 THE BEST PLAYS OF 1982-1983
♦Cats (270). Musical based on Old Possum's Book of Practical Cats by T.S. Eliot; music
by Andrew Lloyd Webber. Produced by Cameron Mackintosh, The Really Useful Com-
pany, Ltd., David Geffen and The Shubert Organization at the Winter Garden. Opened
October 7, 1982.
Alonzo Hector Jaime Mercado Mistoffolees Timothy Scott
Bustopher Jones; Asparagus; Munkustrap Harry Groener
Growltiger Stephen Hanan Old Deuteronomy Ken Page
Bombalurina Donna King Plato; Macavity; Rumpus Cat . . Kenneth Ard
Carbucketty Steven Gelfer Pouncival Herman W. Sebek
Cassandra Rene Ceballos Rum Tum Tugger Terrence V. Mann
Coricopat; Mungojerrie Rene Clemente Sillabub Whitney Kershaw
Demeter Wendy Edmead Skimbleshanks Reed Jones
Etcetera; Rumpleteazer. . . . Christine Langner Tantomile Janet L. Hubert
Grizabella Betty Buckley Tumblebrutus Robert Hoshour
Jellylorum; Griddlebone .... Bonnie Simmons Victoria Cynthia Onrubia
Jennyanydots Anna McNeely
The Cats Chorus: Walter Charles, Susan Powers, Carol Richards, Joel Robertson.
Standbys/Understudies: Mr. Ard — Hector Jaime Mercado; Miss Buckley — Janet L. Hubert; Miss
Ceballos — Marlene Danielle, Diane Fratantoni; Mr. Clemente — Steven Hack, Herman W. Sebek;
Miss Edmead — Janet L. Hubert, Marlene Danielle; Mr. Gelfer — Steven Hack; Mr. Groener — Bob
Morrisey; Mr. Hanan — Steven Gelfer; Mr. Hoshour — Steven Hack; Miss Hubert — Marlene Da-
nielle, Whitney Kershaw; Mr. Jones — Bob Morrisey; Miss Kershaw — Diane Fratantoni; Miss King
— Rene Ceballos, Marlene Danielle; Miss Langner — Diane Fratantoni; Mr. Mann — Bob Mor-
risey; Miss McNeeley — Susan Powers; Mr. Mercado — Bob Morrisey, Herman W. Sebek; Miss On-
rubia— Whitney Kershaw, Christine Langner; Mr. Page — Walter Charles; Mr. Scott — Rene Cle-
mente; Mr. Sebek — Steven Hack; Miss Simmons — Diane Fratantoni.
Directed by Trevor Nunn; associate director and choreographer, Gillian Lynne; production musical
director, Stanley Lebowsky; musical director, Rene Wiegert; scenery and costumes, John Napier;
lighting, David Hersey; sound, Martin Levan; orchestrations, David CuUen, Andrew Lloyd Web-
ber; executive producers, R. Tyler Gatchell Jr., Peter Neufeld; production stage manager, David
Taylor; stage manager, Lani Sundsten; press, Fred Nathan & Associates, Eileen McMahon, Anne S.
Abrams.
Eliot's words (with exceptions noted) set to music in a series of comic character sketches of cats
in a dump setting. 'The Marching Songs of the Pollicle Dogs" and the story of Grizabella are taken
from unpublished Eliot writings, as were lines in the prologue and "Pollicle Dogs and Jellicle Cats."
Growltiger's aria is taken from an Italian translation of Practical Cats. A foreign play previously
produced in London.
A Best Play; see page 138.
PART L When Cats Are Maddened by the Midnight Dance
"Jellicle Songs for Jellicle Cats" Company
(additional lyric material by Trevor Nunn and Richard Stilgoe)
"The Invitation to the Jellicle Ball" Victoria, Mistoffolees
"The Old Gumbie Cat" Jennyanydots, Cassandra, Bombalurina, Jellylorum
"The Rum Tum Tugger" Rum Tum Tugger
"Grizabella, the Glamour Cat" Grizabella, Demeter, Bombalurina
"Bustopher Jones" Bustopher, Jennyanydots, Jellylorum, Bombalurina
"Mungojerrie and Rumpleteazer" Mistoffolees, Mungojerrie, Rumpleteazer
"Old Deuteronomy" Munkustrap, Rum Tum Tugger, Old Deuteronomy
"The Awefull Battle of the Pekes and Follicles" together with
"The Marching Songs of the Pollicle Dogs" Munkustrap, Rumpus Cat
"The Jellicle Ball" Company
"Memory" Grizabella
(lyric by Trevor Nunn, based on Rhapsody on a Windy Night and other Eliot poems of the
Prufrock period)
PLAYS PRODUCED ON BROADWAY 341
PART II: Why Will the Summer Day Delay— When Will Time Flow Away
"The Moments of Happiness" Old Deuteronomy, Tantomile
"Gus: The Theater Cat" Jellylorum, Asparagus
"Growltiger's Last Stand" Growltiger, Griddlebone
The Crew — Harry Groener, Reed Jones, Terrence V. Mann, Hector Jaime Mercado, Timothy
Scott; Genghis — Steven Gelfer
"Skimbleshanks" Skimbleshanks
"Macavity" Demeter, Bombalurina, Alonzo, Macavity, Munkustrap
"Mr. Mistoffolees" Mistoffolees, Rum Tum Tugger
"Memory" (Reprise) Victoria, Grizabella
"The Journey to the Heaviside Layer" Company
"The Ad-dressing of Cats" Old Deuteronomy
Good (125). Play with music by C.P. Taylor. Produced by David Geffen, Warner Theater
Productions, Inc., Elizabeth I. McCann and Nelle Nugent and The Shubert Organiza-
tion in the Royal Shakespeare Company production at the Booth Theater. Opened October
13, 1982. (Closed January 30, 1983)
Haider Alan Howard Helen Meg Wynn-Owen
Sister Elizabeth Kate Spiro Bouller; Eichmann Nicholas Woodeson
Mother Marjorie Yates Anne Felicity Dean
Doctor; Despatch Rider Timothy Walker Freddie Pip Miller
Maurice Gary Waldhorn Hitler; Bok David Howey
Musicians: Michael Dansicker piano, accordion; Beryl Diamond violin; Edward Salkin clarinet,
alto sax; John Sutton banjo, guitar; Larry Etkin trumpet; Bill Grossman standby pianist.
Understudies: Misses Yates, Wynn-Owen — Irene Hamilton; Mr. Howard — David Howey; Miss
Spiro — Catherine Riding; Miss Dean — Kate Spiro; Messrs. Walker, Woodeson, Howey — Paul
League; Mr. Miller — Timothy Walker; Mr. Waldhorn — Nicholas Woodeson.
Directed by Howard Davies; musical direction, Michael Dansicker; scenery and costumes,
Ultz; lighting, Beverly Emmons; music arranged by George Fenton; American production designed
in association with John Kasarda (scenery) and Linda Fisher (costumes); produced by arrangement
with the Royal Shakespeare Theater and Michael White; production stage manager, Janet
Beroza; stage manager, Brian Meister; press, Solters/Roskin/Friedman, Inc., Joshua Ellis, David
LeShay.
From 1933 onward, the gradual making of a Nazi out of the unHkely material of a university
professor, with familiar music interpolated to point up the ironies. The play was presented in two
parts. A foreign play previously produced in London.
A Best Play; see page 123.
The Wake of Jamey Foster (12). By Beth Henley. Produced by FDM Productions
(Francois De Menil, Harris Maslansky), Elliot Martin, Ulu Grosbard, Nan Pearlman and
Warner Theater Productions, Inc. at the Eugene O'Neill Theater. Opened October 14,
1982. (Closed October 23, 1982)
Marshael Foster Susan Kingsley Collard Darnell Patricia Richardson
Leon Darnell Stephen Tobolowsky Pixrose Wilson Holly Hunter
Katty Foster Belita Moreno Brocker Slade Brad Sullivan
Wayne Foster Anthony Heald
Standby: Misses Kingsley, Moreno, Richardson — Annalee Jefferies. Understudies: Messrs. Heald,
Tobolowsky — Gregory Grove; Mr. Sullivan — Bing Russell; Miss Hunter — Mary Anne Dorward.
Directed by Ulu Grosbard; scenery, Santo Loquasto; costumes, Jennifer Von Mayrhauser; Hghting,
Jennifer Tipton; sound, David Rapkin; associate producer. Aria Sorkin Manson; production stage
manager, Frankhn Keysar; stage manager, Wendy Chapin; press, Jeffrey. Rictiards Associates, C.
George Willard.
Place: Throughout Marshael Foster's house and yard in Canton, Miss. Act I, Scene 1: Morning.
342 THE BEST PLAYS OF 1982-1983
Scene 2: Supper time. Act II, Scene 1: Late that night. Scene 2: Throughout the night. Scene 3: The
following morning.
Members of a small town family, some of them eccentrics, gather for a wake. Previously produced
at the Hartford, Conn. Stage Company.
Rock 'n Roll! The First 5,000 Years (9). Musical revue conceived by Bob Gill and Robert
Rabinowitz. Produced by Jules Fisher and Annie Fargue in association with Dick Clark,
Inc. and Fred Disipio at the St. James Theater. Opened October 24, 1982. (Closed October
31, 1982)
Bob Barnes Bob Miller
Joyce Leigh Bowden Michael Pace
Ka-ron Brown Raymond Patterson
Sandy Dillon Marion Ramsey
Andrew Dorfman Jim Riddle
Rich Hebert Shaun Solomon
Lon Hoyt Tom Teeley
William Gregg Hunter Russell Velazquez
Bill Jones Barbara Walsh
Jenifer Lewis Patrick Weathers
Dave MacDonald Carl E. Weaver
Wenndy Leigh MacKenzie Lillias White
Karen Mankes
Directed and choreographed by Joe Layton; musical continuity and supervision, John Simon;
musical direction, Andrew Dorfman; special consultant, Dick Clark; scenery, Mark Ravitz; costumes,
Franne Lee; lighting, Jules Fisher; sound, Bran Ferren; co-choreographer, Jerry Grimes; orchestra-
tions, dance and vocal arrangements, John Simon; media. Gill & Rabinowitz; producers' associate,
Robin Ullman; associate producers, Charles Koppelman, Martin Bandier; production stage manager,
Peter Lawrence; stage manager, Jim Woolley; press. The Merlin Group, Ltd., Cheryl Sue Dolby, Joel
W. Dein, Merle Frimark, Dennis Decker.
The origins and growth of rock 'n roll music from 1955 to 1982, set forth in more than 60 musical
numbers in this genre.
MUSICAL NUMBERS, ACT I: "Love Is a Many Splendored Thing" (by Sammy Fain and Paul
Francis Webster) — Frank Sinatra recording; "Tutti Frutti" — Carl E. Weaver, Company; "Rock
Around the Clock" (by Max Friedman and Jimmy DeKnight) — Jim Riddle, Company; "Blueberry
Hill" (by Al Lewis, Larry Stock and Vincent Rose) — William Gregg Hunter, Company; "Wake Up
Little Susie" (by Boudleaux and Felice Bryant) — Russell Velazquez, Tom Teeley, Company; "Great
Balls of Fire" (by Otis Blackwell and Jack Hammer) — Teeley, Company.
Also "Johnny B. Goode" (by Chuck Berry) — Weaver, Company; "Heartbreak Hotel" (by Max
Boren Axton, Tommy Durden and Elvis Presley) — Patrick Weathers, Company; "Hound Dog" (by
Jerry Leiber and Mike Stoller) — Weathers, Company; "Love Me Tender" (by Vera Matson and Elvis
Presley) — Weathers, Company; "Why Do Fools Fall in Love" (by F. Lymon and M. Levy) — Weaver,
Bob Barnes, Shaun Solomon, Hunter, Raymond Patterson, Company; "Sh-Boom" ("Life Could Be
a Dream") by James Edwards, Carl Feaster, James Keyes and Floyd F. McRae) — Dave MacDonald,
Company.
Also "Will You Still Love Me Tomorrow" (by Jerry Goffin and Carole King) — Marion Ramsey,
Company; "Da Doo Ron Ron" (by Jeff Barry, Ellie Greenwich and Phil Spector) — Wenndy Leigh
MacKenzie, Company; "The Twist" (by Hank Ballard) — Patterson, Ka-ron Brown, Company;
"Land of a Thousand Dances" (by Chris Kenner and Antoine Domino) — Hunter, Brown, Company;
"I'll Be There" (by Hal Davis, Berry Gordy, Bob West and Willie Hutch) — Bob Barnes, Company;
"You Keep Me Hanging On" (by Eddie Holland, Lamont Dozier and Bryant Holland) — Jenifer
Lewis, Lillias White, Ramsey, Company.
Also "Proud Mary" (by John C. Fogerty) — Ramsey, Company; "A Hard Day's Night" — Riddle,
Velazquez, Teeley, Bob Miller, Company; "I Got You Babe" (by Sonny Bono) — Karen Mankes,
Michael Pace, Company; "Good Vibrations" (by Brian Wilson and Mike Love) — Rich Hebert,
PLAYS PRODUCED ON BROADWAY 343
Weaver, Riddle, Company; "Here Comes the Sun" — Teeley, Company; "The Sunshine of Your Love"
(by Jack Bruce, Eric Clapton and Peter Brown) — Teeley, Velazquez, Company; "Blowin' in the
Wind" (by Bob Dylan) — Weathers, Company.
Also "Like a Rolling Stone" (by Bob Dylan) — Weathers, Company; "Whiter Shade of Pale" (by
Keith Reid and Gary Brooker) — MacDonald, Brown, Company; "Mrs. Robinson" (by Paul Simon)
— Velazquez, Teeley, Brown, Company; "White Rabbit" (by Grace Slick) — Barbara Walsh, Mankes,
MacKenzie, Company; "Respect" (by Otis Redding) — White, Company; "The Night They Drove
Old Dixie Down" (by J. Robbie Robertson) — Weathers, Company.
Also "People Got To Be Free" (by Edward Brigate and Felix Cavaliere) — Velazquez, Company;
"Cry Baby" (by Burt Russell and Norman Meade) — Sandy Dillon, Company; "Forever Young" (by
Bob Dylan) — Walsh, Company; "Everybody's Talking" (by Fred Neil) — Pace, Company; "Joy to the
World" (by Hoyt Axton) — Velazquez, Company; "Both Sides Now" (by Joni Mitchell) — MacKenzie,
Company; "Higher and Higher" (by Renard Miner, Gary Jackson and Carl Smith) — Patterson,
Company.
ACT IL "Tubular Bells" (by Mike Oldfield)— Miller, Company (instrumental); "I Feel the Earth
Move" (by Carole King) — Joyce Leigh Bowden, Company; "Satisfaction" (by Mick Jagger and Keith
Richards) — MacDonald, Company; "When Will I Be Loved" (by Phil Everly) — Bowden, Company;
"My Generation" (by Peter Townshend) — Riddle, Company; "You've Got a Friend" (by Carole
King) — Pace, Company.
Also "Nothing From Nothing" (by Billy Preston and Bruce Fisher) — Hunter, Brown, Company;
"Say It Loud I'm Black and Proud" (by James Brown) — Barnes, Company; "Summer in the City"
(by John Sebastian, Steve Boone and Mark Sebastian) — Riddle, Brown, Company; "Whole Lotta
Love" (by John Baldwin, John Bonham, and James Patrick Page) — Velazquez, Riddle, Company;
"Star Spangled Banner" (arranged by Jimi Hendrix) — Teeley (instrumental); "Boogie Woogie Bugle
Boy" (by Don Raye and Hughie Prince) — Bowden, Company.
Also "I Feel Like I'm Gonna Die Rag" (by Joe McDonald) — MacDonald, Company; "American
Pie" (by Don McLean) — Hebert, Company; "Imagine" — Teeley, Company; "School's Out" (by Alice
Cooper and Michael Bruce) — MacDonald, Company; "Rock & Roll All Night" (by Paul Stanley and
Gene Simmons) — Riddle, Company; "Benny and the Jets" (by Elton John and Bernie Taupin) — Lon
Hoyt, Company.
Also "Space Oddity" (by David Bowie) — Pace, Velazquez, Company; "Take a Walk on the Wild
Side" (by Lou Reed) — Weathers, Company; "Everybody Is a Star" (by Sylvester Stewart) — Weaver,
White, Patterson, Hunter, Brown, Company; "Stayin' Alive" (by Barry Gibb, Robin Gibb and
Maurice Gibb) — Hoyt, Pace, Herbert, Company; "Love to Love You Baby" (by Pete Bellote, Giorgio
Morder and Donna Summer) — Lewis, Company; "I Will Survive" (by Dino Fekaris and Frederick
J. Perren) — White, Company.
Also "On the Run" (by Roger Waters, David Gilmour and Rick Wright) — Andrew Dorfman.
Velazquez (instrumental); "Jocko Homo" (by Mark Mothersbaugh) — MacDonald, Company; "Mes-
sage in a Bottle" (by Sting Summer) — Hoyt, Company; "Our Lips Are Sealed" (by Jane Weidlin and
Terry Hall) — Mankes, Company; "Concrete Shoes" (by Rod Swenson and Chosei Funahara Power)
— Dillon, Solomon, Company; "Rock and Roll Music" (by Chuck Berry) — Company.
Twice Around the Park (124). Program of two one-act comedies by Murray Schisgal: A
Need for Brussels Sprouts and A Need for Less Expertise. Produced by Peter Witt, Margo
Korda and Warner Theater Productions in association with the John F. Kennedy Center
for the Performing Arts at the Cort Theater. Opened November 4, 1982. (Closed February
20, 1983)
A Need for Brussels Sprouts A Need for Less Expertise
Leon Rose Eli Wallach Edie Frazier Anne Jackson
Margaret Heinz Anne Jackson Gus Frazier Eli Wallach
Time: The present. Place: An apartment on Dr. Oliovsky's Voice Paulson Mathews
Manhattan's West Side. Time: The present. Place: A co-op on Manhat-
tan's East Side.
Standbys: Mr. Wallach — Ben Kapen; Miss Jackson — Donna Dundon.
Directed by Arthur Storch; scenery, James Tilton; costumes, Ruth Morley; lighting, Judy Ras-
344 THE BEST PLAYS OF 1982-1983
muson; sound, David S. Schnirman; stage manager, John Vivian; press, Joe Wolhandler Associ-
ates, Kathryn Kempf.
Two New York City couples — in A Need for Brussels Sprouts an out-of-work actor and a woman
policeman and in A Need for Less Expertise an affluent married pair — the former trying to get together
and the latter, with the help of a marriage counselor, trying to stay together.
Foxfire (2 1 3). Play with songs by Susan Cooper and Hume Cronyn; music by Jonathan
Holtzman; based on materials from the Foxfire books. Produced by Robert Lussier,
Warner Theater Productions (Claire Nichtern), Mary Lea Johnson and Sam Crothers at
the Ethel Barrymore Theater. Opened November 11, 1982. (Closed May 15, 1983)
Annie Nations Jessica Tandy Holly Burrell Katherine Cortez
Hector Nations Hume Cronyn Dillard Nations Keith Carradine
Prince Carpenter Trey Wilson Doctor James Greene
Musicians: Marc Horowitz banjo. Ken Kosek fiddle, Roger Mason bass.
Understudies: Miss Cortez — Bess Gatewood; Messrs. Greene, Wilson, Carradine — Terrance O'-
Quinn; Mr. Cronyn — James Greene.
Directed by David Trainer; musical direction, Jonathan Holtzman; scenery, David Mitchell; cos-
tumes, Linda Fisher; lighting. Ken Billington; sound, Louis Shapiro; production stage manager,
Martha Knight; stage manager, James M. Arnemann; press, David Powers, Leo Stem.
Time: Now — and before that. Place: Rabun County, Ga. The play was presented in two parts.
Based on the books of Appalachian Mountain folklore edited by Eliot Wigginton and his students,
the hfe and times of a 20th century mountain family including an indomitable mother, a bull-headed
father and a son who runs off to become a pop singer. Previously produced at Stratford, Ont. and
the Guthrie Theater, Minneapolis.
A Best Play; see page 191.
84 Charing Cross Road (96). By Helene Hanff; adapted by James Roose-Evans. Produced
by Alexander H. Cohen, Hildy Parks and Cynthia Wood at the Nederlander Theater.
Opened December 7, 1982. (Closed February 27, 1983)
Helene Hanff Ellen Burstyn George Martin William Francis
Frank Doel Joseph Maher William Humphries Mark Chamberlin
Cecily Farr Ellen Newman Joan Todd Etain O'Malley
Megan Wells; Maxine Stuart ... Jo Henderson Matthew Thomas Nahrwold
Standbys: Miss Burstyn — Elizabeth Perry; Mr. Maher — Miller Lide; Misses Henderson, Newman
— Etain O'Malley. Understudy: Mr. Chamberlain — Thomas Nahrwold.
Directed by James Roose-Evans; scenery, Oliver Smith; costumes. Pearl Somner; lighting. Marc
B. Weiss; co-producer, Roy A. Somlyo; production stage manager, Robert L. Borod; stage manager,
Christopher A. Cohen; press. Merle Debuskey, David Roggensack.
Time: 1949-1971. Place: The New York apartments of Helene Hanff and in Marx & Co., booksell-
ers, 84 Charing Cross Road, London. The play was presented in two parts.
The friendship of an American author and a London bookseller (who never meet) expressed in their
correspondence, previously published as a novel in 1970. Previously produced in London.
Herman van Veen: All of Him (6). One-man musical performance conceived by Herman
van Veen and Michel LaFaille; English adaptation and lyrics by Christopher Adler; with
Herman van Veen. Produced by Joost Taverne, Michael Frazier and Ron van Eeden in
association with the Harlekyn U.S.A. Company at the Ambassador Theater. Opened
December 8, 1982. (Closed December 12, 1982)
Musicians: Erik van der Wurff keyboards; Nard Reijnders saxophone; Cees van der Laarse bass,
electric bass guitar.
Directed by Michel LaFaille; musical direction, Erik van der Wurff; scenery, Gerard Jon-
gerius, Ed de Boer; costumes, Ellen van der Horst; lighting, Rob Munnik; sound, Hans van der
I
PLAYS PRODUCED ON BROADWAY 345
Linden; English translations and associate producer, Patricia Braun; production stage manager, Luc
Hemeleers; press, Solters/Roskin/Friedman, Inc., Joshua Ellis, Jan Greenberg.
Dutch stage star in his U.S. debut in a one-man performance in English combining singing, mime,
comedy and commentary. The show was presented in two parts.
MUSICAL NUMBERS: "A Girl" (music by Herman van Veen and Erik van der WurflT), "A Loose
Woman" (music by Herman van Veen, original lyrics by Willem Wilmink, English lyrics by Christo-
pher Adler), "Cranes" (traditional music adapted by Herman van Veen, original lyrics by Willem
Wilmink, English lyrics by Christopher Adler), "Do You Remember" (original lyrics by Hans
Lodeizen, English lyrics by Christopher Adler), "Hello" (music by Herman van Veen and Erik van
der Wurff), "Heroes" (music by Chris Pilgrim, original lyrics by Rob Chrispijn, English lyrics by
Christopher Adler), "Hole-in-One" (music by Erik van der Wurff and Herman van Veen).
Also "I Don't Want Any Help" (music by Erik van der Wurff and Herman van Veen, original lyrics
by Herman van Veen, English lyrics by Christopher Adler), "I Won't Let That Happen to Him"
(music by Georges Delerue), "Jacob Is Dead" (music by Herman van Veen), "Kitchen Sink" (music
by Erik van der Wurff and Herman van Veen, original lyrics by Herman van Veen, English lyrics
by Christopher Adler), "Ode to Suicide" (music by Joop Stokkermans, original lyrics by Guus
Vleugel, English lyrics by Christopher Adler), "Parade of Clowns" (music by Erik van der Wurff and
Herman van Veen, original lyrics by Rob Chrispijn, English lyrics by Christopher Adler), "Sara-
bande" (music by J.B. Senaille, Herman van Veen and Erik van der Wurff).
Also "Station" (music by Erik van der Wurff and Herman van Veen), "Tell Me Who I Was" (music
by Philippe-Gerard, original French lyrics by Gebe, Dutch lyrics by Willem Wilmink, adapted from
the Dutch by Christopher Adler), "The Back of Life" (music by Herman van Veen, original lyrics
by Willem Wilmink, English lyrics by Christopher Adler); "The Fence" (music by Erik van der
Wurff), "The Interview" (music by Erik van der Wurff and Herman van Veen), "The Rules of the
Asylum" (music by Herman van Veen, original lyrics by Rob Chrispijn), "Time Passed Her By"
(original music and lyrics by Jean Ferrat, adapted from the Dutch by Christopher Adler), "What a
Day" (music by Erik van der Wurff).
Steaming (65). By Nell Dunn. Produced by Ronald S. Lee, Robert S. Fishko, Gene
Wolsk, Sheila Tronn Cooper and Carol Cogan by arrangement with Eddie Kulukun-
dis, John Wallbank and Christopher Malcolm at the Brooks Atkinson Theater. Opened
December 12, 1982. (Closed February 5, 1983)
Violet Pauline Flanagan Dawn Lisa Jane Persky
Bill John Messenger Josie Judith Ivey
Nancy Linda Thorson Jane Margaret Whitton
Mrs. Meadow Polly Rowles
Directed by Roger Smith; scenery, Marjorie Bradley Kellogg; costumes, Jennifer Von Mayr-
hauser; lighting, Pat Collins; sound, David Rapkin; production stage manager, Steve Zweigbaum;
stage manager, Scott Glenn; press, Seymour Krawitz, Patricia Krawitz.
Time: The late 1970s. Place: In a Turkish bath, London. Act I, Scene 1: November. Scene 2: A
week later. Scene 3: A week later. Scene 4: A week later. Act II, Scene 1: January. Scene 2: Two days
later. Scene 3: Later that evening.
Woman-talk, a lot of it about sex, in a group of a half dozen regular and sometimes nude customers
of a Turkish bath. A foreign play previously produced in London.
Monday After the Miracle (7). By William Gibson. Produced by Raymond Katz, Sandy
Gallin and the John F. Kennedy Center at the Eugene O'Neill Theater. Opened December
14, 1982. (Closed December 18, 1982)
Annie Jane Alexander Pete Matt McKenzie
Helen Karen Allen Ed Joseph Warren
John William Converse-Roberts
Understudies: Miss Alexander — Geraldine Baron; Miss Allen — Denise Lute; Messrs. Converse-
Roberts, McKenzie — Francois De La Giroday; Mr. Warren — Paul Haggard.
MONDAY AFTER THE MIRACLE— Karen Allen as Helen Keller, Jane
Alexander as Annie Sullivan and William Converse-Roberts as John Macy
in a scene from the play by William Gibson
Directed by Arthur Penn; scenery, John Lee Beatty; costumes, Carol Oditz; lighting, F. Mitchell
Dana; incidental music, Claude Kerry-White; production stage manager, Susie Cordon; stage man-
ager, Laura deBuys; press, Solters/Roskin/Friedman, Inc., Joshua Ellis, David LeShay.
Time: In the early part of this century. Place: Boston environs — first Cambridge, then Wrentham.
The play was presented in three parts.
Helen Keller and her mentor Annie Sullivan 20 years after the events in Gibson's 1959 play The
Miracle Worker. Previously produced in Pretoria and Johannesburg, South Africa, and Charleston,
S.C.
A Little Family Business (13). By Jay Presson Allen; adapted from a play by Pierre
Barillet and Jean-Pierre Gredy. Produced by Harry Saltzman, Arthur Cantor and Warner
Theater Productions, Inc. at the Martin Beck Theater. Opened December 15, 1982.
(Closed December 26, 1982)
Lillian Angela Lansbury
Ben John McMartin
Nadine Sally Stark
Scott Anthony Shaw
Connie Tracy Brooks Swope
Sal Theodore Sorel
Works Committee:
Marco Tony Cummings
Sophia Hallie Foote
Vinnie Gordon Rigsby
Joe Donald E. Fischer
Recorded roles: Aerobic Dance Instructor — B.J. Ward; TV News Commentator — Tony Cum-
mings.
Understudies: Messrs. McMartin, Sorel — Gordon Rigsby; Misses Stark, Swope — Hallie Foote; Mr.
Shaw — Tony Cummings; Mr. Cummings — Donald E. Fischer.
Directed by Martin Charnin; scenery, David Gropman; costumes, Theoni V. Aldredge; hghting,
I
I
PLAYS PRODUCED ON BROADWAY 347
Richard Nelson; sound, Chuck London; production associate, Harvey Elhott; produced in association
with Center Theater Group/Ahmanson Theater; production stage manager, Frank Hartenstein; stage
manager, Edward R. Fitzgerald; press, Arthur Cantor Associates, Harvey Elliott.
Place: The Ridley home in Cobbsville, Mass. Act I, Scene 1: A May morning. Scene 2: The
following morning. Scene 3: A few hours later. Act II, Scene 1: Three months later. Scene 2: Two
weeks later.
Comedy, wife takes over the management of a corporation from her ailing husband. Previously
produced in Los Angeles; the original was produced in Paris as Potiche.
Almost an Eagle (5). By Michael Kimberley. Produced by Frederick M. Zollo, Susan R.
Rose, Gail Berman, William P. Suter, Nicholas Paleologos, Melvyn J. Estrin and Sidney
Shlenker at the Longacre Theater. Opened December 16, 1982. (Closed December 19,
1982)
Billy Spencer Jeffrey Marcus Shawn Haley Neil Barry
Terry Matthews Scott Simon Colonel James Whitmore
Mark Lillard John P. Navin Jr.
Directed by Jacques Levy; scenery and costumes, Karl Eigsti; lighting, Roger Morgan; associate
producers, Paul D'Addario, Barbara Livitz; production stage manager, Steve Beckler; press, Judy
Jacksina, Glenna Freedman.
Comedy, a Boy Scout troupe in Table Rock, Iowa. The play was presented in two parts.
Alice in Wonderland (21). Revival of the play adapted by Eva Le Gallienne and Florida
Friebus from Lewis Carroll (illustrated by John Tenniel); music by Richard Addin-
sell. Produced by Sabra Jones and Anthony D. Marshall in the Eva Le Gallienne produc-
tion at the Virginia Theater. Opened December 23, 1982. (Closed January 16, 1983)
CAST: Singers — Nancy Killmer, Marti Morris; Alice — Kate Burton; Small White Rabbit, Four
of Hearts — Mary Stuart Masterson; Mouse, Three of Hearts, Tweedledee — John Remme; Lory, Seven
of Hearts — John Miglietta; Duck, Dormouse, Train Guard — Nicholas Martin; Dodo, Mock Turtle
— James Valentine; Eaglet, Two of Hearts — Rebecca Armen; White Rabbit, White Knight — Curt
Dawson; Caterpillar, Ten of Hearts, Sheep — John Heffernan; Fish Footman, Voice of Cheshire Cat,
Ace of Hearts, Man in White Paper — Geddeth Smith; Frog Footman, Five of Hearts, Goat —
Claude-Albert Saucier; Duchess — Edward Zang; Cook, Nine of Hearts — Richard Sterne.
Also March Hare, Front of Horse — Josh Clark; Mad Hatter — Maclntyre Dixon; Two of Spades
— Geoff Garland; Five of Spades, Tweedledum — Robert Ott Boyle; Seven of Spades, Voice of Leg
of Mutton — Steve Massa; Three of Clubs — Skip Harris; Seven of Clubs, Back of Horse — Cliff
Rakerd; Six of Hearts — Marti Morris; Eight of Hearts — Nancy Killmer; Knave of Hearts — John
Seidman; Queen of Hearts — Brian Reddy; King of Hearts, Voice of Humpty Dumpty — Richard
Woods; Gryphon, Old Frog — Edward Hibbert; Red Queen — Mary Louise Wilson; White Queen —
Eva Le Gallienne (Joan White, alternate).
Understudies: Miss Burton — Mary Stuart Masterson; Miss Armen, Mr. Sterne — Nancy
Killmer; Mr. Boyle — Skip Harris, John Seidman; Messrs. Clark, Reddy, Smith — Cliff Rakerd; Mr.
Dixon — Robert Ott Boyle; Messrs. Garland, Rakerd — Skip Harris; Mr. Heffernan — Geddeth
Smith; Mr. Martin — Steve Massa; Mr. Massa — John Remme; Miss Masterson — Marti Morris;
Messrs. Miglietta, Valentine — Richard Sterne; Mr. Remme — Maclntyre Dixon; Messrs. Saucier,
Seidman — John Miglietta; Miss Wilson — Rebecca Armen; Mr. Woods — Nicholas Martin, Richard
Sterne; Mr. Zang — Claude-Albert Saucier.
Conceived and directed by Eva Le Gallienne; co-director, John Strasberg; scenery, John Lee
Beatty; costumes, Patricia Zipprodt; lighting, Jennifer Tipton; puppets, The Puppet People; music
adaptation and supervision, Jonathan Tunick; movements, Bambi Linn; sound. Jack Mann; conduc-
tor, Les Scott; special effects, Chic Silber; produced in association with WNET/Thirteen; production
stage manager, Alan Hall; stage manager, Ruth E. Rinklin; press, Solters/Roskin/Friedman,
Inc., Joshua Ellis, David LeShay.
Act I: Alice at Home, The Looking-Glass House, Pool of Tears, Caucus Race, Caterpillar, Duchess,
Cheshire Cat, Mad Tea Party, Queen's Croquet Ground, By the Sea, The Trial. Act II: Red Chess
348 THE BEST PLAYS OF 1982-1983
Queen, Railway Carriage, Tweedledum and Tweedledee, White Chess Queen, The Sheep Shop,
Humpty Dumpty, White Knight, Alice With the Two Queens, Alice's Door, The Banquet, Alice at
Home Again.
This stage version of the Alice stories was first produced on Broadway by Civic Repertory
Theater 12/12/32 for 127 performances. It was revived by the American Repertory Theater 4/5/47
for 100 performances.
Whodunnit (157). By Anthony Shaffer. Produced by Douglas Urbanski, Robert A.
Buckley and E. Gregg Wallace Jr. at the Biltmore Theater. Opened December 30, 1982.
(Closed May 15, 1983)
Archibald Perkins Gordon Chater Lavinia Hargreaves Lauren Thompson
Andreas Capodistriou George Hearn Roger Dashwell John Glover
Silas Bazeby Jerome Dempsey Dame Edith Runcible .... Hermione Baddeley
Rear-Admiral Knatchbull Inspector Bowden Fred Gwynne
Folliatt Ronald Drake Sergeant Jeffrey Alan Chandler
Lady Tremurrain Barbara Baxley
Standbys: Messrs. Dempsey, Drake, Gwynne — John Hallow; Misses Baxley, Baddeley — Patricia
Gage; Messrs. Glover, Chandler — Robert Nadir; Miss Thompson — Johanna Leister.
Directed by Michael Kahn; scenery, Andrew Jackness; costumes, Patricia Zipprodt; lighting,
Martin Aronstein; hair and makeup, Patrik D. Moreton; sound, Richard Fitzgerald; production stage
manager, Frank Marino; stage manager, Judith Binus; press, Marilynn LeVine, Michael Alpert.
Place: The hbrary of Orcas Champflower Manor. Act I: An evening in the 1930s. Act II: Some
time later.
Comedy thriller, a takeoff on the British country-house murder mystery novel. A foreign play
previously produced in London under the title The Case of the Oily Levantine.
Robert Nadir replaced John Glover 3/22/83-4/5/83. Frank Gorshin replaced George Hearn
4/12/83.
Plenty (92). Transfer from off Broadway of the play by David Hare. Produced by Joseph
Papp in the New York Shakespeare Festival production at the Plymouth Theater. Opened
January 6, 1983. (Closed March 27, 1983)
Alice Park Ellen Parker Louise Johann Carlo
Susan Traherne Kate Nelligan M. Aung Conrad Yama
Raymond Brock Edward Herrmann Mme. Aung Ginny Yang
Codename Lazar Ben Masters Dorcas Frey Madeleine Potter
Frenchman #1 Ken Meseroll John Begley Jeff Allin
Leonard Darwin George N. Martin Sir Andrew Charleson Bill Moor
Mick Daniel Gerroll Frenchman #2 Pierre Epstein
Standby: Miss Nelligan — Randy Danson. Understudies: Messrs. Masters, Gerroll — Jeff Allin; Mr.
Yama — Victor Wong; Miss Yang — Kiya Ann Joyce; Misses Parker, Carlo, Potter — Elizabeth
Norment; Messrs. Martin, Moor, Epstein — Tom Klunis; Messrs. Allin, Meseroll — Robert Curtis-
Brown.
Directed by David Hare; scenery, John Gunter; costumes, Jane Greenwood; lighting, Arden
Fingerhut; incidental music, Nick Bicat; production supervisor, Jason Steven Cohen; production stage
manager, Michael Chambers; stage manager, Anne King; press, Merle Debuskey, Richard Korn-
berg.
Act I, Scene 1: Knightsbridge, Easter 1962. Scene 2: St. Benoit, November 1943. Scene 3: Brussels,
June 1947. Scene 4: Pimlico, September 1947. Scene 5: Festival of Britain, May 1951. Scene 6: Pimlico,
December 1952. Scene 7: Knightsbridge, October 1956. Act II: Scene 8: Knightsbridge, July 1961.
Scene 9: Whitehall, January 1962. Scene 10: Knightsbridge, the day before Easter 1962. Scene 11:
Blackpool, June 1962. Scene 12: St. Benoit, August 1944.
From World War II to the 1960s, an Englishwoman's disillusionment and emotional decline is seen
as a metaphor of the values and moods of her country. A foreign play previously produced at the
PLAYS PRODUCED ON BROADWAY 349
National Theater, Lx)ndon; in Chicago; and in this production at New York Shakespjeare Festival
Public Theater for 45 performances 10/21/82-11/28/82 (see its entry in the Plays Produced Off
Broadway section of this volume).
Jenny Wright replaced Madeleine Potter 2/83.
A Best Play; see page 173.
Angels Fall (64). Transfer from off Broadway of the play by Lanford Wilson. Produced
by Elliot Martin, Circle Repertory Company, Lucille Lortel, The Shubert Organiza-
tion and Kennedy Center in the Circle Repertory Company production at the Longacre
Theater. Opened January 22, 1983. (Closed March 13, 1983)
Niles Harris Fritz Weaver Marion Clay Tanya Berezin
Vita Harris Nancy Snyder Salvatore (Zappy) Zappala . . . Bnan Tarantma
Don Tabaha Danton Stone Father William Doherty Barnard Hughes
Understudies: Messrs. Hughes, Weaver — Matthew Lewis; Misses Snyder, Berezin — Trish Haw-
kins; Messrs. Stone, Tarantina — Daniel Hutchison.
Directed by Marshall W. Mason; scenery, John Lee Beatty; costumes, Jennifer Von Mayr-
hauser; hghting, Dennis Parichy; sound. Chuck London Media/Stewart Werner; original music,
Norman L. Berman; production stage manager, Fred Reinglas; stage manager, Ginny Martino; press,
Jeffrey Richards Associates, C. George Willard.
Time: A late Saturday afternoon in June. Place: A mission in northwest New Mexico. The play
was presented in two parts.
Character studies of six individuals confined in a group by a nearby nuclear accident. Previously
produced off Broadway by Circle Rej>ertor\- Company 10/17/82 for 65 {performances through
11/28/82; see its entry in the Plays Produced Off Broadway section of this volume.
A Best Play; see page 153.
*A View From the Bridge (135). Revival of the play by Arthur Miller. Produced by Zev
Bufman and Sidney Shlenker in the Long Wharf Theater production at the Ambassador
Theater. Opened February 3, 1983.
Louis Stephen Mendillo Rodolpho James Hayden
Mike John Shepard 1st Immigration Officer Ramon Ramos
Alfieri Robert Prosky 2d Immigration Officer James Vitale
Eddie Tony Lo Bianco Mr. Lipari Mitchell Jason
Catherine Saundra Santiago Mrs. Lipari Rose Arrick
Beatrice Rose Gregorio 1st "Submarine" Tom Nardini
Marco Alan Feinstein 2d "Submarine" Joseph Adams
Tony Paul Perri
Standbys: Mr. Lo Bianco — Michael Baseleon; Mr. Prosky — Mitchell Jason; Miss Gregorio — Rose
Arrick; Miss Santiago — Yolanda Lloyd; Mr. Hayden — Joseph Adams; Mr. Feinstein — Stephen
Mendillo.
Directed by Arvin Brown; scenery-, Hugh Landwehr; costumes. Bill Walker; lighting, Ronald
Wallace; fights, B.H. Barry; associate producer, Barbara Livitz; production stage manager, James
Harker; press, Fred Nathan & Associates, Eileen McMahon. Anne S. Abrams, John Howlett, John
Traub.
Time: the 1950s. Place: In the apartment and environment of Eddie Carbone, all in Red Hook, on
the bay seaward from Brooklyn Bridge. The play was presented m two parts.
A View From the Bridge was first produced on Broadway in a one-act version 9/29/55 for 149
performances and was named a Best Play of its season. The present full-length version was first
produced off Broadway 1/28/65 for 780 performances. This revival was previously produced at the
Long Wharf Theater and elsew here.
♦Merlin (121). Musical based on an original concept by Doug Henning and Barbara De
Angelis; book by Richard Levinson and William Link; songs and incidental music by
^t*5-
i
^
Nv
MERLIN — Doug Henning (top, center) and company in a scene from the musical
Elmer Bernstein; lyrics by Don Black; magic illusions created by Doug Henning. Produced
by Ivan Reitman, Columbia Pictures Stage Productions, Inc., Marvin A. Krauss and
James M. Nederlander at the Mark Hellinger Theater. Opened February 13, 1983; see
note.
Old Merlin; Old Soldier . George Lee Andrews
Young Merlin; Arthur Christian Slater
Wizard Edmund Lyndeck
Merlin Doug Henning
Philomena Rebecca Wright
Queen Chita Rivera
Queen's Companion Gregory Mitchell
Prince Fergus Nathan Lane
Merlin's Vision; Water Debby Henning
Ariadne Michelle Nicastro
Acolyte; Manservant Alan Brasington
Earth Peggy Parten
Air Robyn Lee
Fire Spence Ford
Creatures of the Glade: Robin Cleaver, Ramon Galindo, Todd Lester, Claudia Shell, Robert
Tanna. Ladies of the Court: Pat Gorman, Leslie Hicks, Robyn Lee, Peggy Parten, Iris Revson.
Ladies of the Ensemble: Robin Cleaver, Spence Ford, Pat Gorman, Andrea Handler, Debby
Henning, Leslie Hicks, Sandy Laufer, Robyn Lee, Peggy Parten, Iris Revson, Claudia Shell.
Men of the Ensemble: David Asher, Ramon Galindo, Todd Lester, Joe Locarro, Fred C. Mann
III, Gregory Mitchell, Andrew Hill Newman, Eric Roach, Robert Tanna, Robert Warners.
Understudies: Mr. Henning — Andrew Hill Newman; Miss Rivera — Sandy Laufer; Mr. Lane —
Robert Warners; Mr. Lyndeck — David Asher, Alan Brasington; Miss Wright — Claudia Shell; Miss
Nicastro — Leslie Hicks; Mr. Andrews — Alan Brasington; Mr. Brasington — David Asher; Mr. Slater
— Ron Meier.
PLAYS PRODUCED ON BROADWAY 351
Directed by Ivan Reitman; choreography, Christopher Chadman, Billy Wilson; musical direction
and vocal arrangements, David Spear; scenery, Robin Wagner; costumes, Theoni V. Aldredge;
lighting, Tharon Musser; sound, Abe Jacob; orchestrations, Larry Wilcox; dance arrangements, Mark
Hummel; magic consultant, Charles Reynolds; associate producer, Joe Medjuck; produced by Ivan
Reitman and Marvin A. Krauss; production supervisor, Jeff Hamlin; production stage manager, Jeff
Lee; stage manager, Bonnie Panson; press, The Merlin Group, Ltd., Cheryl Sue Dolby, Merle
Frimark.
Time: The time of sorcery.
Pre-Arthurian fantasy as a vehicle for a performance by magician Doug Henning.
Note: The official opening date of Merlin was 2/13/83, though some publications of record
reviewed it as a finished show before that date, in the midst of its long series of preview perfor-
mances.
ACT I
Scene 1: Merlin's glade
"It's About Magic" Old Merlin, Young Merlin, Merlin, Philomena, Ensemble
Scene 2: The palace of the Queen
"I Can Make It Happen" Queen
Scene 3: The glade
"Beyond My Wildest Dreams" Ariadne
"Something More" Merlin, Ariadne
Scene 4: A crystal grove
"The Elements" Merlin, Wizard, Ensemble
Scene 5: A river
"Fergus's Dilemma" Fergus, Ladies of the Court
Scene 6: The hall of the angels
"Nobody Will Remember Him" Queen, Wizard
ACT II
Scene 1: A far away village
"Put a Little Magic in Your Life" Old Merlin, Merlin, Philomena, Ensemble
"He Who Knows the Way" Wizard
Scene 2: The palace
"I Can Make It Happen" (Reprise) Queen
Scene 3: A marsh
"He Who Knows the Way" (Reprise) Wizard
Scene 4: The palace ramparts
"We Haven't Fought a Battle in Years" Fergus, Soldiers
Scene 5: The Queen's dungeon
"Satan Rules" Queen
"Nobody Will Remember Him" (Reprise) Queen
Scene 6: On the Way to London
"He Who Knows the Way" (Reprise) Merlin, Wizard, Arthur
Moose Murders (1). By Arthur Bicknell. Produced by Force Ten Productions, Inc. at the
Eugene O'Neill Theater. Opened and closed at the evening performance, February 22,
1983.
Snooks Keene June Gable Stinky Holloway Scott Evans
Howie Keene Don Potter Gay Holloway Mara Hobel
Joe Buffalo Dance Jack Dabdoub Lauraine Holloway Fay Lillie Robertson
Nurse Dagmar Lisa McMillan Nelson Fay Nicholas Hormann
Hedda Holloway Holland Taylor Sidney Holloway Dennis Florzak
Directed by John Roach; scenery, Marjorie Bradley Kellogg; costumes, John Carver Sullivan;
lighting, Pat Collins; sound. Chuck London Media/Stewart Warner; dance coordmator, Mary Jane
Houdina; stage violence, Kent Shelton; associate producer, Ricka Kanter Fisher; production stage
352
THE BEST PLAYS OF 1982-1983
manager, Jerry Bihm; stage manager, Cliflford Schwartz; press, Betty Lee Hunt, Maria Cristina
Pucci, James Sapp, Maurice Turet.
Time: The present. Place: The Wild Moose Lodge. Act I: Evening, early fall. Act II: Several hours
later.
Comedy melodrama, a satire on the mystery genre.
*On Your Toes (98). Revival of the musical with book by Richard Rodgers, Lorenz
Hart and George Abbott; music by Richard Rodgers; lyrics by Lorenz Hart. Produced
by Alfred de Liagre Jr., Roger L. Stevens, John Mauceri, Donald R. Seawell and Andre
Pastoria in the ANTA-Kennedy Center production at the Virginia Theater. Opened
March 6, 1983.
Phil Dolan II; Oscar Eugene J. Anthony
Lil Dolan; Reporter Betty Ann Grove
Phil Dolan III (Junior). . . Philip Arthur Ross
Stage Manager Dirk Lumbard
Lola Mary C. Robare
Junior (15 yrs. later) Lara Teeter
Sidney Cohn Peter Slutsker
Frankie Frayne Christine Andreas
Joe McCall Jerry Mitchell
Vera Baronova Natalia Makarova
Vera Baranova (Sat. matinees). . . Starr Danias
Anushka Tamara Mark
Peggy Porterfield Dina Merrill
Sergei Alexandrovitch George S. Irving
Konstantine Morrosine. . . . George de la Pena
Stage Doorman David Gold
Dimitri Chris Peterson
Ivan Don Steffy
Louie George Kmeck
"Princess Zenobia" Ballet:
Princess Zenobia Natalia Makarova
Beggar George de la Peiia
Kringa Khan George Kmeck
Ali Shar Eugene J. Anthony
Ahmud Ben B'Du David Gold
Hank Jay Smith Michael Vita
"On Your Toes" Ballet:
Ballet Leaders Alexander Filipov,
Starr Danias
Tap Leaders . . Dirk Lumbard, Dana Moore
Cop Michael Vita
Messenger Boy Dean Badolato
"Slaughter on Tenth Avenue" Ballet:
Hoofer Lara Teeter
Strip Tease Girl Natalia Makarova
Big Boss Michael Vita
Cop Jerry Mitchell
Ensemble: Melody A. Dye, Michaela K. Hughes, Tamara Mark, Dana Moore, Mary C.
Robare, Marcia Lynn Watkins, Leslie Woodies, Sandra Zigars, Dean Badolato, Alexander Fili-
pov, Wade Laboissonniere, Dirk Lumbard, Robert Meadows, Jerry Mitchell, Chris Peterson, Don
Steffy, Kirby Tepper, David Gold, George Kmeck.
Understudies: Miss Grove — Dana Moore; Mr. Teeter — Dana Lumbard; Miss Andreas — Marcia
Lynn Watkins; Mr. Slutsker — Kirby Tepper; Miss Makarova — Starr Danias; Miss Merrill — Michaela
K. Hughes; Mr. Irving — David Gold; Mr. de la Pena — Alexander Filipov; Mr. Kmeck — Jerry
Mitchell; Mr. Anthony — Dirk Lumbard; Mr. Ross — Steven Ross.
Directed by George Abbott; original choreography, George Balanchine; musical numbers choreo-
graphed by Donald Saddler; additional ballet choreography, Peter Martins; musical direction, John
Mauceri; scenery and costumes, Zack Brown; lighting, John McLain; original orchestrations, Hans
Spialek; coordinating producer, Charlene Harrington; production stage manager, William Dodds;
stage manager, Sarah Whitham; press, Jeffrey Richards Associates, C. George Willard.
On Your Toes was first produced on Broadway 4/11/36 for 315 performances. It was revived on
Broadway 10/11/54 for 64 performances. This production was previously presented at Kennedy
Center, Washington, D.C. and Seattle, Wash.
ACT I
Scene 1: A vaudeville stage, about 1920
"Two a Day for Keith" Phil Dolan II, Lil Dolan, Phil Dolan III
Scene 2: The vaudeville dressing room
Scene 3: A classroom at Knickerbocker University — WPA Extension
"Questions and Answers (The Three B's)" Junior, Students
"It's Got To Be Love" Frankie, Junior, Students
PLAYS PRODUCED ON BROADWAY 353
Scene 4: Vera's apartment, the next morning
"Too Good for the Average Man" Sergei, Peggy
"The Seduction" Vera, Junior
Scene 5: The schoolroom
"There's a Small Hotel" Frankie, Junior
Scene 6: The bare stage, Cosmopolitan Opera House, the next morning
Scene 7: Cosmopolitan Opera House
"Princess Zenobia" Ballet
ACT U
Scene 1 : The bare stage, Cosmopolitan Opera House
"The Heart Is Quicker Than the Eye" Peggy, Junior
"Glad To Be Unhappy" Frankie
Scene 2: The classroom
"Quiet Night" Hank Jay Smith, Students
"On Your Toes" Frankie, Students
Scene 3: The bare stage. Cosmopolitan Opera House
Scene 4: The stage door. Cosmopolitan Opera House
"Quiet Night" (Reprise) Sergei
Scene 5: Stage of the Cosmopolitan Opera House
"Slaughter on Tenth Avenue" Ballet
Slab Boys (48). By John Byrne. Produced by Paramount Theater Productions in the Laura
Shapiro Kramer and Roberta Weissman production at the Playhouse Theater. Opened
March 7, 1983. (Closed April 17, 1983)
George "Spanky" Farrell Sean Penn Jack Hogg Brian Benben
Hector McKenzie Jackie Earle Haley Alan Downie Val Kilmer
Phil McCann Kevin Bacon Sadie Beverly May
Willie Curry Merwin Goldsmith Lucille Bentley Madeleine Potter
Understudies: Messrs. Penn, Haley, Bacon, Benben, Kilmer — Ron Fassler; Mr. Goldsmith — Joel
Kramer; Misses May, Potter — Barrie Moss.
Directed by Robert Allan Ackerman; scenery, Ray Recht, after designs by John Byrne; costumes,
Robert Wojewodski, after designs by John Byrne; lighting, Arden Fingerhut; production stage man-
ager, Thomas Kelly; stage manager, Barrie Moss; press, Judy Jacksina, Glenna Freedman, Stephanie
Hughley, Susan Chicoine, Marcy Granata, Mari Thompson.
Time: The winter of 1957. Place: The Slab Room, a small, paint-bespattered hole adjacent to the
Design Studio at A.F. Stobo & Co., Carpet Manufacturers of Elderslie, near Paisley, Scotland. Act
I: The morning of a Friday. Act H: That afternoon.
The pranks and ordeals of slab boys (who knead ground pigments into smooth paints for the
designers) and those just above then in the pecking order at a carpet factory. A foreign play (first part
of a trilogy entitled Paisley Patterns) previously produced in Edinburgh, London, Frankfort, Cape
Town and Actors Theater of Louisville and the Hudson Guild Theater.
Marcel Marceau on Broadway (47). One-man program of pantomime by Marcel Mar-
ceau. Produced by Ken Myers and The Shubert Organization, Peter C. Wiese and Ronald
A. Wilford associate producers, at the Belasco Theater. Opened March 9, 1983. (Closed
April 17, 1983)
With Jonathan Lambert, Jean-Jerome Raclot. Stage manager, Antoine Casanova; press, Fred
Nathan, John Howlett, Anne S. Abrams.
Repertory includes eight new numbers by the noted French mime, whose last New York appear-
ance took place on Broadway 3/25/75 for 24 performances. Individual programs were selected from
the following:
Style Pantomimes— Walking, Walking Against the Wind, The Staircase, The Tight Rope Walker,
The Public Garden, The Bill Poster, The Kite, The Sculptor, The Painter, The Cage, The Bureaucrats,
354 THE BEST PLAYS OF 1982-1983
The Hands, Remembrances, The Side Show, The Pickpocket's Nightmare, The Amusement Park,
Contrasts, The Maskmaker, The Seven Deadly Sins; Youth, Maturity, Old Age and Death; The Tango
Dancer, The Small Cafe, The Dice Players, The Four Seasons, The Dream, The Creation of the
World, The Trial, The Angel, The Dress, The Tree.
Bip Pantomimes: Bip in the Subway, Bip Travels by Train, Bip as a Skater, Bip Hunts Butterflies,
Bip Plays David and Goliath, Bip at a Ballroom, Bip Commits Suicide, Bip as a Soldier, Bip at a
Society Party, Bip as a Street Musician, Bip as a China Salesman, Bip as a Fireman, Bip as a Great
Artist, Bip Has a Date, Bip Remembers, Bip as a Baby Sitter, Bip as a Professor of Botany, Bip as
a Lion Tamer; Bip, the Illusionist; Bip Looks for a Job, Bip in the Modern and Future Life, Bip as
a Tailor in Love, Bip Dreams He Is Don Juan, Bip and the Dating Service; Bip, Great Star of a
Travelling Circus.
Aznavour (14). Concert performance by Charles Aznavour. Produced by Ron Dels-
ener and Levon Sayan at the Lunt-Fontanne Theater. Opened March 14, 1983. (Closed
March 26, 1983)
Background Vocals: Diana Green, Ednah Holt, Carol Steele.
Musicians: Aldo Frank conductor, piano, contractor; Bob Cranshaw bass; Miohisa Takada, Tom
Suarez, Noel Dacosta, Masako Yanagrita, Susan Winterbottom, Karen Eley, Nina Simon violins;
Marin Alsop, Bernard Zeller, Judy Geost violas; Akua Turre, Barbara Bogatin cellos; Akita
Tana percussion; Grady Tate drums; Ken Hatfield guitar. Cheryl Hardwick fender rhodes, synthe-
sizer.
Musical direction, Aldo Frank; lighting, Maurice Giraud; sound, Robert Kerzman; press, Solters/
Roskin/Friedman, Inc., Milly Schoenbaum, Warren Knowlton.
Concert performance, in two parts, by the French singing star and song writer.
MUSICAL NUMBERS (music and lyrics by Charles Aznavour unless otherwise noted): "Le
Temps" (music, Davis), "In Your Room," "I Didn't See the Time Go By," "Etre" (music, Gara-
ventz), "Happy Anniversary," "In Times To Be" (lyrics, Plante), "L'Amour, Bon Dieu, L' Amour,"
"I Act as If (lyrics, Plante), "To Be a Soldier," "Nous n'Avons Pas d'Enfant" (music, Garaventz),
"I'll Be There" (music, Garaventz).
Also "Les Comediens" (lyrics, Plante), "She" (lyrics, Kretzmer), "Take Me Along," "The Happy
Days," "Mon Ami — Mon Judas," "And I in My Chair," "Isabelle," "You've Let Yourself Go,"
"Mon Emouvant Amour," "Ave Maria" (music, Garaventz), "What Makes a Man," "La Boheme"
(lyrics, Plante), "The Old Fashioned Way" (music, Garaventz), "Yesterday When I Was Young,"
"You've Got to Learn," "La Mama" (lyrics, Gail).
Also "Mourir d'Aimer," "De t'Avoir Aimee, "Qui," "Que C'est Triste Venise (music, Dorin),
"Non Je N'ai Rien Oublie" (music, Garaventz), "lis Sont Tombes," "The First Dance."
♦Brighton Beach Memoirs (75). By Neil Simon. Produced by Emanuel Azenberg, Wayne
M. Rogers and Radio City Music Hall Productions in association with Center Theater
Group/ Ahmanson at the Alvin Theater. Opened March 27, 1983.
Eugene Matthew Broderick Nora Jodi Thelen
Blanche Joyce Van Patten Stanley Zeljko Ivanek
Kate Elizabeth Franz Jack Peter Michael Goetz
Laurie Mandy Ingber
Standbys: Misses Franz, Van Patten — Donna Haley; Miss Thelen — Robin Morse; Messrs. Brode-
rick, Ivanek — Timothy Busfield; Miss Ingber — Pamela Segall; Mr. Goetz — Stefan Gierasch; Mr.
Ivanek — J. Patrick Breen.
Directed by Gene Saks; scenery, David Mitchell; costumes, Patricia Zipprodt; lighting, Tharon
Musser; stage managers, Martin Herzer, Barbara-Mae Phillips; press. Bill Evans, Sandra Manley.
Time: September, 1937. Place: Brighton Beach, Brooklyn. Act I: 6:30 p.m. Act II: Wednesday, a
week later, about 6:45 in the evening.
Adolescence in Brooklyn in the 1930s, with two families sharing a house and just barely making
ends meet. Previously produced in Los Angeles and San Francisco.
PLAYS PRODUCED ON BROADWAY 355
♦K2 (71). By Patrick Meyers. Produced by Mary K. Frank and Cynthia Wood by arrange-
ment with Saint-Subber at the Brooks Atkinson Theater. Opened March 30, 1983.
Taylor Jeffrey De Munn
Harold Jay Patterson
Standby: Mr. De Munn — Michael Tolaydo.
Directed by Terry Schreiber; scenery, Ming Cho Lee; costumes, Noel Borden; lighting, Allen Lee
Hughes; audio composition, Herman Chessid; sound, David Schnirman; assistant director, William
S. Morris; associate producers, Shaun Beary, Charles H. Duggan; production stage manager, Arlene
Grayson; stage manager, Diane Ward; press, Joe Wolhandler Associates, Kathryn Kempf, Julianne
Davidow.
Place: A ledge at 27,000 feet, 1,250 feet below the summit of K2, the world's second highest
mountain. The play was presented without intermission.
A pair of mountain climbers in peril during their descent from the summit. Previously produced
by Arena Stage, Washington, D.C., Theater by the Sea, Portsmouth, N.H. and Syracuse, N.Y.
Stage.
A Best Play; see page 237.
*'night, Mother (70). By Marsha Norman. Produced by Dann Byck, Wendell Cherry, The
Shubert Organization and Frederick M. Zollo at the John Golden Theater. Opened March
31, 1983.
Thelma Cates Anne Pitoniak
Jessie Cates Kathy Bates
Standbys: Miss Pitoniak — Helen Harrelson; Miss Bates — Phyllis Somerville.
Directed by Tom Moore; scenery and costumes, Heidi Landesman; lighting, James F. Ingalls;
associate producer, William P. Suter; production stage manager, Steven Beckler; press, Betty Lee
Hunt, Maria Cristina Pucci, James Sapp.
Place: A relatively new house built way out on a country road. The play was presented without
intermission.
Daughter informs mother she means to commit suicide and proceeds to get her mother's life
organized before she goes. Previously produced at American Repertory Theater, Cambridge, Mass.
A Best Play; see page 247.
♦You Can't Take It With You (65). Revival of the play by Moss Hart and George S.
Kaufman. Produced by Ken Marsolais, Karl Allison and Bryan Bantry at the Plymouth
Theater. Opened April 4, 1983.
Penelope Sycamore Elizabeth Wilson Alice Maureen Anderman
Essie Carol Androsky Henderson Orrin Reiley
Rheba Rosetta LeNoire Tony Kirby Nicolas Surovy
Paul Sycamore Jack Dodson Boris Kolenkhov James Coco
Mr. DePinna Bill McCutcheon Gay Wellington Alice Drummond
Ed Christopher Foster Mr. Kirby Richard Woods
Donald Arthur French Mrs. Kirby Meg Mundy
Martin Vanderhof Jason Robards Olga Colleen Dewhurst
G-Men: Page Johnson, Wayne Elbert, William Castleman.
Understudies: Messrs. Robards, Woods, Dodson — William Cain; Messrs. Johnson, Elbert — Wil-
liam Castleman; Mr. French — Wayne Elbert; Messrs. Coco, Reiley, McCutcheon — Page John-
son; Messrs. Foster, Surovy — Orrin Reiley; Misses Wilson, Drummond, Mundy, Dewhurst — Frances
Helm; Misses Anderman, Androsky — Rosemary Loar; Miss LeNoire — Alyce Webb.
Directed by Ellis Rabb; scenery and lighting, James Tilton; costumes, Nancy Potts; musical staging.
Reed Jones; production stage manager, Mitchell Erickson; stage managers, John Handy, William
Castleman; press, Henry Luhrman, Terry M. Lilly, Kevin P. McAnarney, Keith Sherman.
YOU CANT TAKE IT WITH YOU— Jason Robards and
Elizabeth Wilson in a scene from the Kaufman-Hart revival
Place: The home of Martin Vanderhof, New York. Act I: A Wednesday evening. Act II: A week
later. Act III: The next day.
You Can't Take It With You was first produced on Broadway 12/14/36 for 837 performances and
was named a Best Play of its season and won the Pulitzer Prize. It was revived on Broadway 3/26/45
for 17 performances; and in the APA production under EUis Rabb's direction 11/23/65 for 255
performances and returning 2/10/67 for 16 performances.
The Man Who Had Three Arms (16). By Edward Albee. Produced by Allen Klein at the
Lyceum Theater. Opened April 5. 1983. (Closed April 17, 1983)
The Man William Prince Himself Robert Drivas
The Woman Patricia KilgarrifT
Standbys: Mr. Drivas — Stephen Markle; Mr. Prince — Wyman Pendleton.
Directed by Edward Albee; scenery, John Jensen; costumes, John Falabella; lighting, Jeff
PLAYS PRODUCED ON BROADWAY 357
Davis; executive producer, Iris W. Keitel; associate producer, Kenneth Salinsky; production stage
manager, James Bernardi; stage manager, Laura deBuys; press, Solters/Roskin/Friedman, Inc.,
Joshua Elhs, David LeShay.
Diatribe by a central character (HimselO about the onset of fame after he grows a third arm and
its disappearance after the arm withers and vanishes. The play was presented in two parts. Previously
produced by the Miami, Fla. New World Festival and the Goodman Theater, Chicago.
Porgy and Bess (45). Revival of the musical based on the play Porgy by Dorothy and
DuBose Heyward; book by DuBose Heyward; music by George Gershwin; lyrics by
DuBose Heyward and Ira Gershwin. Produced by Radio City Music Hall, Bernard
Gersten executive producer, and Sherwin M. Goldman Productions at Radio City Music
Hall (see note). Opened April 7, 1983. (Closed May 15, 1983)
Jasbo Brown Edward Strauss (Crown) Gregg Baker,
(Clara) . . Priscilla Baskerville, Luvenia Garner George Robert Merritt
Mingo Timothy Allen (Bess) Priscilla Baskerville,
(Jake) ..;... Alexander Smalls, James Tyeska Henrietta Elizabeth Davis, Naomi Moody,
Sportin' Life Larry Marshall Daisy Newman
Robbins Tyrone Jolivet Detective Larry Storch
(Serena) . . Shirley Baines, Regina McConnell, Policeman William Moize
Wilma A. Shakesnider, Veronica Tyler Undertaker Joseph S. Eubanks
Jim ' Donald Walter Kase Annie Lou Ann Pickett
Peter Mervin Bertel Wallace Frazier Raymond H. Bazemore
Lily Y. Yvonne Matthews Strawberry Woman Denice Woods
(Maria) Loretta Holkmann, Crab Man Thomas J. Young
Gwendolyn Shepherd Nelson Everett McCorvey
Scipio Akili Prince Coroner Richert Easley
(Porgy) Robert Mosley Jr., Michael V. (Parentheses indicate roles in which the perform-
Smartt, Jonathan Sprague, James Tyeska ers alternated)
Ensemble: Loretta Abbott, Timothy Allen, Earl L. Baker, Emerson Battles, Raymond H.
Bazemore, Shirley Black-Brown, Roslyn Burrough, Vertrelle Cameron, Seraiah Carol, Duane Clen-
ton Carter, Dabriah Chapman, Louise Coleman, Janice D. Dixon, Diallobe Dorsey, Cisco Xavier
Drayton, Alberta M. Driver, Joseph S. Eubanks, Karen E. Eubanks, Lori Eubanks, Beno Foster,
Jerry Godfrey, Earl Grandison, Milton B. Grayson Jr., Elvira Green, Lawrence Hamilton, Gurcell
Henry, Angela Holcomb, Lisa D. Holkmann, Janice T. Hutson, David-Michael Johnson, Leavata
Johnson, Tyrone Jolivet, Dorothy L. Jones, Donald Walter Kase, Robert Kryser.
Also Roberta Alexandra Laws, Eugene Little, Jason Little, Ann Marie Mackey, Barbara
Mahajan, Amelia Marshall, Richard Mason, Y. Yvonne Matthews, Everett McCorvey, John
McDaniels, William Moize, Byron Onque, H. William Penn, Marenda Perry, Lou Ann Pickett,
Herbert Lee Rawlings Jr., Roumel Reaux, Noelle Richards, David Robertson, Lattilia Ronrico,
Renee L. Rose, Myles Gregory Savage, Sheryl Shell, Kiki Shepard, Kevin L. Stroman, Charee Adia
Thorpes, Pamela Warrick-Smith, Mervin Bertel Wallace, Cornelius White, Rodney Wing, Tarik
Winston, Denice Woods, Thomas J. Young.
Understudies: Porgy, Crown — Duane Clenton Carter; Clara — Gurcell Henry; Maria — Elvira
Green; Jake — Donald Walter Kase, Rodney Wing; Sportin' Life — Herbert Lee Rawlings Jr.; Mingo
— David-Michael Johnson; Robbins — John McDaniels; Peter — Beno Foster; Annie — Leavata
Johnson; Frazier — Earl Grandison; Lily — Sheryl Shell; Strawberry Woman — Y. Yvonne Mat-
thews; Jim — Byron Onque; Crab Man — Myles Gregory Savage; Detective — Richert Easley; Nelson
— William Moize.
Directed by Jack O'Brien; choreography, George Faison; musical director, C William Har-
wood; scenery, Douglas W. Schmidt; costumes, Nancy Potts; lighting, Gilbert V. Hemsley Jr.;
associate conductor, John Miner; assistant conductor, Edward Strauss; musical preparation, George
Darden; associate producer, Virginia Hymes; assistant director and production supervisor, Helaine
Head; production stage manager, John Actman; press, Gifford/Wallace, Inc., Bob Burrichter.
Time: The early 1930s. Place: Charleston, S.C Act I, Scene 1: Catfish Row, a summer evening.
Scene 2: Serena's room, the following night. Scene 3: Catfish Row, a month later. Scene 4: Kittiwah
358 THE BEST PLAYS OF 1982-1983
Island, late afternoon. Act II, Scene 1: Catfish Row, before dawn a week later. Scene 2: Serena's room,
the dawn of the following day. Scene 3: Catfish Row, the next night. Scene 4: Catfish Row, the next
afternoon. Scene 5: Catfish Row, a week later.
Porgy and Bess was first produced on Broadway 10/10/35 for 124 performances. It has been revived
on Broadway 1/22/42 for 286 performances; 9/13/43 for 24 performances and returning 2/7/44 for
48 performances; 3/10/53 for 305 performances; 5/17/61 for 16 performances; 5/6/64 for 15 perfor-
mances and 9/26/76 for 122 performances. This 1983 production is the uncut version.
ACT I
"Brown Blues" Piano
"Summertime" Clara
"A Woman Is a Sometime Thing" Jake, Men
"Here Come de Honey Man" Peter
"They Pass By Singin' " Porgy
"Oh Little Stars" Porgy
"Gone, Gone, Gone" Ensemble
"Overflow" Ensemble
"My Man's Gone Now" Serena
"Leavin' for the Promise' Lan' " Bess, Ensemble
"It Takes a Long Pull to Get There" Jake, Men
"I Got Plenty o' Nuttin' " Porgy, Ensemble
"Struttin' Style" Maria
"Buzzard Song" Porgy, Ensemble
"Bess, You Is My Woman Now" Porgy, Bess
"Oh, I Can't Sit Down" Ensemble
"I Ain't Got No Shame" Ensemble
"It Ain't Necessarily So" Sportin' Life, Ensemble
"What You Want Wid Bess" Bess, Crown
ACT II
"Oh, Doctor Jesus" Serena, Maria, Peter, Lily, Porgy
"I Loves You, Porgy" Porgy, Bess
"Oh, He'venly Father" Ensemble
"Oh, de Lawd Shake de Heavens" Ensemble
"Oh, Dere's Somebody Knockin' at de Do' " Ensemble
"A Red Headed Woman" Crown, Ensemble
"Clara, Clara" Ensemble
"There's a Boat That's Leavin' Soon for New York" Sportin' Life, Bess
"Good Mornin', Sistuh!" Ensemble
"Oh, Bess, Oh Where's My Bess" Porgy, Serena, Maria
"Oh Lawd, I'm on My Way" Porgy, Ensemble
Note: Radio City Music Hall also presented a return engagement of The Magnificent Christmas
Spectacular for 92 performances 1 1/19/82-1/6/83 at Radio City Music Hall, produced and directed
by Robert F. Jani; scenery, Charles Lisanby; costumes, Frank Spencer; lighting. Ken Billington;
principal staging, Frank Wagner; staging and choreography, Violet Holmes, Linda Lemac, Frank
Wagner; choral arrangements, Tom Bahler, Don Pippin; orchestrations, Elman Anderson, Robert M.
Freedman, Michael Gibson, Arthur Harris; with a cast of Chet Carlin, Edward Prostak, Kimberly
Moke, Amy Dolan, Michael PoUoway, Rickie Cramer, Patricia Ward, Joan Cooper-Miraella, David
Roman, Jeff" Johnson, Thuri Ravenscroft, The Rockettes and The New Yorkers.
All's Well That Ends Well (38). Revival of the play by William Shakespeare. Produced
by The Shubert Organization, Elizabeth I. McCann and Nelle Nugent, ABC Video Enter-
prises, Inc., Roger S. Berlind, Rhoda R. Herrick, Jujamcyn Theaters (Richard G.
Wolff), MGM/UA Home Entertainment Group, Inc. and Mutual Benefit Produc-
tions (Karen Crane) in the Royal Shakespeare Company production at the Martin Beck
Theater. Opened April 13, 1983. (Closed May 15, 1983)
PLAYS PRODUCED ON BROADWAY 359
Rossillion: Gentlemen and Suitors: Tom Hunsinger,
Countess of Rossillion .... Margaret Tyzack Christopher Hurst, John McAndrew, Gary
Bertram Philip Franks Sharkey, Graham Turner. Ladies: Vivienne
Helena Harriet Walter Argent, Noelyn George, Elizabeth Rider, Susan
Capt. Parolles Stephen Moore Jane Tanner, June Watts.
Rynaldo David Lloyd Meredith Florence:
Lavache Geoffrey Hutchings Duke of Florence John Rogan
Bertram's Servant John McAndrew Widow Capilet Gillian Webb
Maids: Vivienne Argent, Noelyn George, Eli- Diana Deirdra Morris
zabeth Rider, Susan Jane Tanner, June Watts. Violenta Susan Jane Tanner
Paris: Mariana Elizabeth Rider
King of France John Franklyn-Robbins Morgan Roger Allam
Lord Lafeu Robert Eddison Soldiers: Tom Hunsinger, Christopher
Gentleman George Raistrick Hurst, John McAndrew, Gary Sharkey, Graham
Capt. Dumaine, elder Peter Land Turner. Waitresses: Vivienne Argent, Noelyn
Capt. Dumaine, George, June Watts,
younger Simon Templeman
Musicians: Donald Johnson music director, piano, accordion; David Weiss flute, piccolo; Jeremy
Szabo oboe, English horn; Matthew Goodman clarinet; Ethan Bauch bassoon; William Hamil-
ton, French horn; Richard Henley trumpet; Grant Keast trumpet; Dennis Elliot trombone, tuba;
Dean Plank trombone; Michael Epstein drums; Mark Belair percussion; Batia Lieberman cello.
Understudies: Miss Walter — Deirdra Morris; Misses Morris, Tanner — Elizabeth Rider; Misses
Webb, Rider — Susan Jane Tanner; Miss Tyzack — Gillian Webb, Mr. Moore — Roger Allam; Messrs.
Franks, Templeton — Christopher Hurst; Mr. Meredith — Tom Hunsinger; Messrs. Allam, Rogan —
John McAndrew; Mr. Franklyn-Robbins — George Raistrick; Mr. Eddison — John Rogan; Messrs.
Raistrick, Land — Gary Sharkey; Messrs. Hutchings, McAndrew — Graham Turner.
Directed by Trevor Nunn; scenery, John Gunter, American scenery in association with John
Kasarda; costumes, Linda Fisher after original designs by Lindy Hemming; lighting, Beverly Em-
mons after original designs by Robert Bryan; music composed and arranged by Guy Woolfen-
den; dances, Geraldine Stephenson; sound, T. Richard Fitzgerald; musical director, Donald John-
ston; production stage manager, Janet Beroza; company stage manager, Jane Tamlyn; press,
Solters/Roskin/Friedman, Inc., Joshua Ellis, Irene Gandy, David LeShay.
This 1981 (in Stratford) and 1982 (in London) production by the Royal Shakespeare Com-
pany, with the play's period transposed to the Edwardian era, was presented in two parts. The last
major New York revivals of AlFs Well That Ends Well were by New York Shakespeare Festi-
val at the Delacorte Theater 6/15/66 for 16 performances and 6/29/78 for 28 performances.
Teaneck Tanzi: The Venus Flytrap (2). By Claire Luckham. Produced by Charlene and
James Nederlander, Richard Vos, Stewart F. Lane and Kenneth-Mark Productions at the
Nederlander Theater. Opened April 20, 1983 matinee. (Closed April 20, 1983 evening)
Tanzi Caitlin Clarke, Deborah Harry Tanzi's Dad Clarence Felder
Dean Rebel Scott Renderer, Platinum Sue Dana Vance
Thomas G. Waites The Ref Andy Kaufman
Tanzi's Mom Zora Rasmussen
Directed by Chris Bond; scenery and costumes, Lawrence Miller; lighting, Arden Fingerhut;
composer, Chris Monks; wrestling, Brian Maxine; sound, Richard Fitzgerald; musical arrangements
and supervision, Martin Silvestri, Jeremy Stone; stage managers, Kate Pollock, Paul
Schneeberger; press, Judy Jacksina, Glenna Freedman.
Comedy about the war between the sexes, waged in the form of a wrestling match. A foreign play
previously produced in Liverpool, London and Paris. The play was presented in two parts.
*Show Boat (43). Musical revival based on the novel by Edna Ferber; book and lyrics by
Oscar Hammerstein II; music by Jerome Kern. Produced by James M. Nederlander, John
F. Kennedy Center and Denver Center in the Houston Grand Opera production at the
Uris Theater. Opened April 24, 1983.
360 THE BEST PLAYS OF 1982-1983
Windy Richard Dix La Belle Fatima Lynda Karen
Steve Wayne Turnage Old Sport;
Pete Glenn Martin Young Man With Guitar Larry Hansen
Queenie Karla Burns Landlady; Old Lady on Levee . . . Mary Rocco
Parthy Ann Hawkes Avril Gentles Jim; Vallon Jacob Mark Hopkin
Cap'n Andy Donald O'Connor Magnolia Sheryl Woods
Ellie Paige O'Hara Charlie P.L. Brown
Frank Paul Keith Mother Superior Linda Milani
Mahoney; Barker; Jake Randy Hansen Young Kim Tracy Paul
Julie Lonette McKee Lottie Gloria Parker
Gaylord Ravenal Ron Raines Dolly Dale Kristien
Joe Bruce Hubbard Older Kim Karen Culliver
Backwoodsman; Barker Lewis White Radio Announcer's Voice Hal Douglas
Jeb; Barker James Gedge
Chorus: Women — Vanessa Ayers, Joanna Beck, Karen Culliver, Olivia Detante, Kim Fair-
child, Cheryl Freeman, Lynda Karen, Dale Kristien, Linda Milani, Gloria Parker, Veronica
Rhodes, Mary Rocco, Molly Wassermann, Carrie Wilder; Swings — Jeane July, Suzanne Ishee.
Chorus: Men — P.L. Brown, Michael-Pierre Dean, Merwin Foard, Joe Garcia, James Gedge, Mi-
chael Gray, Larry Hansen, Randy Hansen, Jacob Mark Hopkin, Glenn Martin, Randy Morgan,
Dennis Perren, Leonard Piggee, Alton Spencer, Robert Vincent, Lewis White, Wardell Woo-
dard; Swings — Tom Garrett, Ed Battle.
Understudies: Mr. O'Connor — Richard Dix; Miss McKee — Gloria Parker; Mr. Raines — Wayne
Turnage; Miss Woods — Dale Kristien; Miss Burns — Vanessa Ayers; Messrs. Keith, Randy Han-
sen— Larry Hansen; Miss O'Hara — Carrie Wilder; Mr. Hubbard — P.L. Brown; Messrs. Dix, Hop-
kin— Lewis White; Messrs. Turnage, Martin — Robert Vincent; Mr. White — James Gedge; Miss
Rocco — Linda Milani; Mr. Brown — Dennis Perren; Miss Milani — Kim Fairchild; Messrs.
Gedge, Larry Hansen — Tom Garrett; Misses Parker, CulHver — Suzanne Ishee; Miss Kristien —
Joanna Beck; Miss Karen — Jeane July; Miss Paul — Karen Culliver. Standby: Miss Gentles —
Lizabeth Pritchett.
Directed by Michael Kahn; choreography, Dorothy Danner; music director, John DeMain; sce-
nery, Herbert Senn, Helen Pond; costumes, Molly Maginnis; lighting, Thomas Skelton; sound, Rich-
ard Fitzgerald; conductor. Jack Everly; executive producers, Robert A. Buckley, Douglas Urban-
ski; production stage manager, Warren Crane; stage manager. Amy Pell; press, Marilynn
LeVine.
The last major New York production of Show Boat was by Music Theater of Lincoln Center
7/19/66 for 63 performances.
The list of musical numbers in Show Boat appears on page 353 of The Best Plays of 1966-67.
Total Abandon (1). By Larry Atlas. Produced by Elizabeth L McCann, Nelle Nugent,
Ray Larsen, William J. Meloche, Patrick S. Brigham and John Roach at the Booth
Theater. Opened and closed at the evening performance, April 28, 1983.
Lenny Keller Richard Dreyfuss Walter Bellmon George N. Martin
Henry Hirsch John Heard Ben Hammerstein Clifton James
Directed by Jack Hofsiss; scenery, David Jenkins; costumes, Julie Weiss; lighting, Beverly Em-
mons; associate producers. Marc E. Piatt, Sander Jacobs, Tommy DeMaio; press, Solters/Roskin/
Friedman Inc. Joshua ElHs, David LeShay.
Place: The antechamber of a midwestern courtroom. The play was presented in two parts.
Father's emotional upset in a failed marriage causes him violently to abuse his two-year-old
son.
♦My One and Only (33). Musical with book by Peter Stone and Timothy S. Mayer; music
by George Gershwin from Funny Face and other shows; lyrics by Ira Gershwin. Produced
by Paramount Theater Productions, Francine Lefrak and Kenneth-Mark Productions at
the St. James Theater. Opened May 1, 1983.
PLAYS PRODUCED ON BROADWAY 361
New Rhythm Boys David Jackson, Kipper Niki Harris
Ken Leigh Rogers, Ronald Dennis Anchovie Karen TamburrelH
Capt. Billy Buck Chandler Tommy Tune Edith Herbert Twiggy
Mickey Denny Dillon Rt. Rev. J.D.
Prince Nicolai Erraclyovitch Montgomery Roscoe Lee Browne
Tchatchavadze; Achmed Bruce McGill Mr. Magix Charles "Honi" Coles
Fish: Policeman;
Flounder Nana Visitor Stage Doorman Paul David Richards
Sturgeon Susan Hartley Mrs. O'Malley Ken Leigh Rogers
Minnow Stephanie Eley Conductor Adrian Bailey
Prawn Jill Cook
Ritz Quartette: Casper Roos, Paul David Richards, Carl Nicholas, Will Blankenship. Dancing
Gentlemen: Adrian Bailey, Bar Dell Conner, Ronald Dennis, David Jackson, Aide Lewis Jr., Bernard
Manners, Ken Leigh Rogers.
Standbys: Messrs. Tune, McGill — Ronald Young; Miss Twiggy — Nana Visitor; Mr. Browne —
Leon Morenzie; Miss Dillon — Jill Cook; Mr. Coles — David Jackson. Swings: Merilee Magnuson,
Melvin Washington.
Directed and choreographed by Thommie Walsh and Tommy Tune; musical and vocal direction,
Jack Lee; scenery, Adrianne Lobel; costumes, Rita Ryack; lighting, Marcia Madeira; sound, Otts
Munderloh; musical concept and dance arrangements, Wally Harper; orchestrations, Michael
Gibson; dance arrangements, Peter Larson; associate choreographer, Baayork Lee; associate director,
Phillip Oesterman; associate producer, Jonathan Farkas; musical consultant, Michael Feinstein; a
King Street production, Bernard Carragher, Obie Bailey and Bernard Bailey, produced by Lewis
Allen; production stage manager, Peter Von Mayrhauser; stage manager, Robert Kellogg; press, Judy
Jacksina, Glenna Freedman, Marcy Granata, Susan Chicoine, Mari H. Thompson, John Howl-
ett.
A 1920s aviator might have beaten Lindbergh to Paris if he had not been distracted by falling in
love with a Channel swimmer (originally mounted as a revival version of the musical Funny
Face with music by George Gershwin, lyrics by Ira Gershwin and book by Fred Thompson and Paul
Gerard Smith but converted into a new work with Gershwin songs from Funny Face and other
shows).
A Best Play; see page 261.
ACT I
Pennsylvania Station, May 1, 1927
"I Can't Be Bothered Now" New Rhythm Boys, Billy, Edith, Prince Nikki,
Mickey, Ensemble
"Blah, Blah, Blah" Billy
Billy's hangar
"Boy Wanted" Edith, Reporter
"Soon" Billy
Mr. Magix's Emporial
"High Hat"/"Sweet and Low Down" Magix, Billy, New Rhythm Boys Ensemble
Club Havana
"Blah, Blah, Blah" (Reprise) Edith
"Just Another Rhumba" Montgomery, Ensemble
Cinema
"He Loves and She Loves" Billy, Edith
"He Loves and She Loves" (Reprise) Ritz Quartette
Central Park
The hangar
"I Can't Be Bothered Now" (Reprise) New Rhythm Boys
A deserted beach
" 'S Wonderful" Billy, Edith
" 'S Wonderful" (Reprise) Ritz Quartette
"Strike Up the Band" Billy
362 THE BEST PLAYS OF 1982-1983
ACT II
Aquacade
"In the Swim'VWhat Are We Here For?" Fish, Nikki
"Nice Work If You Can Get It" Edith
Mr. Magix's Emporial
"My One and Only" Magix, Billy
Pennsylvania Station
The hangar
"Funny Face" Mickey, Nikki
Club Oasis
"My One and Only" (Reprise) Billy
The Uptown Chapel
"Kickin' the Clouds Away" Montgomery, Ensemble
(lyrics by B.G. DeSylva and Ira Gershwin; dance arrangements by Peter Howard)
"How Long Has This Been Goin' On?" Edith, Billy
Bows
Finale
"Strike Up the Band" (Reprise) Company
The Ritz (1). Revival of the play by Terrence McNally. Produced by Bavar/Culver
Productions in association with James R. Cunningham at Henry Miller's Theater. Opened
and closed at the evening performance May 2, 1983.
Abe Joey Faye Carmine Vespucci Danny Dennis
Claude Don Potter Vivian Proclo Dolores Wilson
Gaetano Proclo Taylor Reed Crisco Peer Radon
Chris Michael Greer Sheldon Farenthold Paige Edwards
Googie Gomez Holly Woodlawn Patron in Chaps George Sardi
Maurine Jan Meredith Patron From Sheridan Sq. . . . Tom Terwilliger
Michael Brick Casey Donovan ChaCha Jon Koons
Tiger Pi Douglass Butch John Burke
Duff Roland Rodriguez
Directed by Michael Bavar; scenery, Gordon Micunis; costumes, George Potts; lighting, Todd
Lichtenstein; choreography, Robert Speller; sound, David Schnirman; music, Man Parrish; produc-
tion stage manager, T.L. Boston; press, Shirley Herz, Peter Cromarty.
The Ritz was first produced on Broadway 1/20/75 for 400 performances and was named a Best
Play of its season.
♦Private Lives (26). Revival of the play by Noel Coward. Produced by The Elizabeth
Theater Group (Zev Bufman and Elizabeth Taylor) at the Lunt-Fontanne Theater.
Opened May 8, 1983.
Sibyl Chase Kathryn Walker Amanda Prynne Elizabeth Taylor
Elyot Chase Richard Burton Louise Helena Carroll
Victor Prynne John Cullum
Standbys: Miss Taylor — Kathryn Walker; Mr. Burton — John Cullum; Misses Walker, Carroll —
Judith McGilligan; Mr. Cullum — Larry Pine.
Directed by Milton Katselas; scenery, David Mitchell; costumes, Theoni V. Aldredge; lighting,
Tharon Musser; additional music, Stanley Silverman; sound. Jack Mann; production stage manager,
Patrick Horrigan; stage manager, Brian Meister; press, Fred Nathan and Associates, Eileen
McMahon, Leo Stem, Anne S. Abrams.
Time: 1930. Act I: The terrace of a hotel in Deauville on the coast of France, a summer evening.
Act II: Amanda's flat in Paris, a few days later, evening. Act III: The same, next morning.
The last major New York revival of Private Lives was a touring London production 2/6/75 for
92 performances.
THE FLYING KARAMAZOV BROTHERS— They aren't flyers, Ka-
ramazovs or brothers, but they do juggle as part of their comedy act
*The Flying Karamazov Brothers (25). Variety revue devised by the performers. Produced
by Mace Neufeld and Viacom International, Inc. at the Ritz Theater. Opened May 10,
1983.
Dmitri Paul David Magid Smerdyakov Sam Williams
Alyosha Randy Nelson Ivan Howard Jay Patterson
Fyodor Timothy Daniel Furst
Musicians: Douglas Wieselman soprano and tenor saxophone, clarinet, electric guitar, bass clarinet,
mandolin, percussion; Mike Van Liew trumpet, cornet, flute, orchestra bells, percussion; Gina
Leishman piccolo, ukelele, flute, bass clarinet, accordion, cello, percussion, mandolin; Bud
Chase tuba, string bass, electric bass, percussion, mandolin; Alec Willows drums, percussion, soprano
saxophone.
Scenery and costumes, Robert Fletcher; lighting, Marc B. Weiss; associate producers, Harold
Thau, Robert Courson; stage managers, Phil Friedman, Amy Richards; press, Henry Luhrman
Associates, Terry M. Lilly, Kevin P. McAnarney.
A show composed of juggling, comedy and music, presented in two parts.
Dance a Little Closer (1). Musical based on Idiot's Delight by Robert E. Sherwood; book
and lyrics by Alan Jay Lerner; music by Charles Strouse. Produced by Frederick Bris-
son, Jerome Minskoff", James M. Nederlander and Kennedy Center at the Minskoff* Thea-
ter. Opened and closed at the evening performance, May 11, 1983.
Roger Butterfield Don Chastain Contessa Carla Pirianno . . . Elizabeth Hubbard
Harry Aikens Len Cariou Capt. Mueller Noel Craig
Johannes Hartog David Sabin Charles Castleton Brent Barrett
364
THE BEST PLAYS OF 1982-1983
"The Delights":
Shirley Diane Pennington
Bebe Cheryl Howard
Elaine Alyson Reed
Edward Dunlop Jeff Keller
Bellboy Philip Mollet
Waiter; Harry's Double .... Brian Sutherland
Rev. OHver Boyle I.M. Hobson
Hester Boyle Joyce Worsley
Heinrich Walter Joseph Kolinski
Cynthia Brookfield-Bailey Liz Robertson
Dr. Josef Winkler George Rose
Cynthia's Double Robin Stephens
Rink Attendant; Violinist James Fatta
Ice Skater Colleen Ashton
Harry, Harry, Harry, Harry: Peter Wandel, Philip Mollet, Brian Sutherland, James Fatta.
Hotel Guests: Colleen Ashton, Candy Cook, Mary Dale, James Fatta, Philip Mollet, Linda
Poser, Robin Stephens, Brian Sutherland, Peter Wandel.
Standby: George Rose — David Sabin. Understudies: Mr. Cariou — Don Chastain; Miss Robertson
— Elizabeth Hubbard; Messrs. Kolinski, Barrett, Keller — Brian Sutherland; Misses Hubbard, Wors-
ley— Linda Poser; Mr. Craig — Philip Mollet; Miss Reed — Colleen Ashton; Miss Pennington — Candy
Cook; Mr. Sabin — Reuben Singer; Miss Howard — Joanne Genelle; Mr. Sutherland — Peter Wan-
del; Swings — Joanne Genelle, Mark Lamanna.
Directed by Alan Jay Lerner; musical staging and choreography, Billy Wilson; musical direction,
Peter Howard; scenery, David Mitchell; costumes, Donald Brooks; lighting, Thomas Skelton; orches-
trations, Jonathan Tunick; dance music. Gene Kelly; sound, John McClure; associate producer, Paul
N. Temple; production supervisor, Stone Widney; assistant to the producer, Dwight Frye; production
stage manager, Alan Hall; stage manager, Steven Adler; press, Jeffrey Richards Associates, C. George
Willard.
Time: The avoidable future. Place: The Barclay-Palace Hotel on a hillside in the Austrian Alps.
World War III looms over an American cabaret artist and a collection of guests of various
nationalities at an elegant Austrian resort hotel, in an update of Sherwood's 1936 Best Play and
Pulitzer Prizewinner.
ACT I
Scene 1: The night club of the Barclay-Palace Hotel on New Year's Eve, shortly before midnight
"It Never Would Have Worked" Harry, Delights
"Happy, Happy New Year" Harry, Delights, Guests
Scene 2: The main entrance lounge of the hotel, 2 a.m. that night
"No Man Is Worth It" Cynthia
"What Are You Going to Do About It?" Harry, Walter
Scene 3: The Winkler suite, later that night
"A Woman Who Thinks I'm Wonderful" Winkler
Scene 3A: Harry's memory
Pas de deux Harry's Double, Cynthia's Double
Scene 4: A bedroom in a mid-western hotel ten years earlier
"There's Never Been Anything Like Us" Harry
"Another Life" Cynthia
Scene 5: The skating rink at the hotel, New Year's Day morning
"Why Can't the World Go and Leave Us Alone?" Charles, Edward
"He Always Comes Home to Me" Cynthia, Harry
Scene 6: The night club of the hotel, that evening
"I Got a New Girl" Harry, Dehghts
"Dance a Little Closer" Harry, Cynthia, Guests
"There's Always One You Can't Forget" Harry
ACT II
Scene 1 : The main entrance lounge of the hotel, the following morning
"Homesick" Shirley, Bebe, Elaine
"Mad" Harry, Delights
"I Don't Know" Harry, Boyle, Contessa, Delights, Charles, Edward, Cynthia
"Auf Wiedersehen" Winkler
"I Never Want to See You Again" Harry
I
PLAYS PRODUCED ON BROADWAY 365
Scene 2: Cynthia's memory
"On Top of the World" Cynthia, Men
Scene 3: The main entrance lounge of the hotel, immediately following
"I Got a New Girl" (Reprise) Harry, Cynthia
"Dance a Little Closer" (Reprise) Harry, Cynthia
♦Passion (18). By Peter Nichols. Produced by Richmond Crinkley and Eve Skina, Tina
Chen, BMP Productions, Martin Markinson, Mike Merrick and John Roach at the
Longacre Theater. Opened May 15, 1983.
Kate Roxanne Hart Agnes Stephanie Gordon
James Bob Gunton Jim Frank Langella
Eleanor Cathryn Damon Nell E. Katherine Kerr
Others: Louis Beachner, Jonathan Bolt, Lisa Emery, Charles Harper, William Snovell, CB.
Toombes.
Understudies: Messrs. Langella, Gunton — Jonathan Bolt; Miss Hart — Lisa Emery; Company —
Valerie Karasek, Ken Kliban. Standby: Misses Damon, Gordon, Kerr — Catherine Byers.
Directed by Marshall W. Mason; scenery, John Lee Beatty; costumes, Jennifer Von Mayr-
hauser; lighting, Ron Wallace; sound, Chuck London Media/Stewart Werner; associate producer,
Robert Pesola; produced by arrangement with the Royal Shakespeare Theater; production stage
manager, Franklin Keysar; stage manager, Jody Boese; press, Betty Lee Hunt, Maria Cristina
Pucci, James Sapp, Robert W. Larkin.
Time: Autumn. Place: London. The play was presented in two parts.
The loves of a married couple with others and each other, with husband and wife each portrayed
by two performers representing different aspects of their nature. A foreign play previously produced
in London.
♦Breakfast With Les and Bess (14). By Lee Kalcheim. Produced by Howard J.
Burnett, David E. Jones and Steven K. Goldberg in the Hudson Guild Theater (David
Kerry Heefner producing director) production at the Lambs Theater. Opened May 19,
1983.
Bess Christian Dischinger Holland Taylor Roger Everson Jeff McCracken
Les Dischinger Keith Charles David Dischinger John Leonard
Shelby Dischinger Kelle Kipp Nate Moody; Announcer Daniel Ziskie
Directed by Bamet Kellman; scenery. Dean Tschetter; costumes, Timothy Dunleavy; lighting, Ian
Calderon; sound, Michael Jay; production stage manager, Andrea Naier; press, Henry Luhrman
Accociates, Keith Sherman, Terry M. Lilly, Kevin P. McAnamey.
Time: 1961. Place: The living room of Les and Bess Dischinger, Central Park South. Act I: 7:30
a.m. Act II, Scene 1: The next morning. Scene 2: The following morning.
A husband-and-wife radio talk-show team in professional and family crisis. Previously produced
off off Broadway at Hudson Guild Theater.
PLAYS WHICH CLOSED
PRIOR TO BROADWAY OPENING
Productions which were organized by New York producers for Broadway
presentation but which closed during their production and tryout period are listed
below.
Outrage. By Henry Denker. Produced by the John F. Kennedy Center for the Performing
Arts, Roger L. Stevens chairman, Marta Istomin artistic director, at the Eisenhower
OUTRAGE— Ralph Bell, Alan Hewitt and Peter Evans in the
Washington, D.C. production of Henry Denker's courtroom drama
Theater in a pre-Broadway engagement. Opened December 15, 1982. (Closed January 8,
1983)
Lester Crewe Kene Holliday
Benjamin Franklyn Gordon Peter Evans
Dennis Riordan Michael Higgins
Attendant Walter Flanagan
Stenographer Rony Clanton
William Simmons Michael Medeiros
Wilbert Ward Jim Moody
Lt. Salvatore Marchi Lou Criscuolo
Dr. Allan Frost Mel Cobb
Victor Coles Humbert Allen Astredo
Judge Aaron Klein Ralph Bell Judge Michael Lengel Alan Hewitt
Directed by Edwin Sherin; scenery, John Falabella; costumes, David Murin; lighting, Marcia
Madeira; production stage manager, Amy Pell.
Time: Now. Place: A courtroom in Supreme Court, New York County, Criminal Part. The play
was presented in two parts.
Courtroom drama, the trial of a man who has killed his daughter's murderer.
Make and Break. By Michael Frayn. Produced by Kennedy Center, Elliot Martin, Arnold
Bernhard and Michael Codron in a pre-Broadway tryout. Opened at the Wilmington, Del.
Playhouse March 28, 1983. (Closed at the Eisenhower Theater, Washington, D.C. May
7, 1983)
Tom Olley Biff McGuire
Frank Prosser Stephen D. Newman
Colin Hewlett Jim Piddock
Mrs. Rogers Cynthia Harris
Verhaeren Drew Eliot
Shariq Alexander Spencer
Japanese Customer Ron Faber
Ted Shaw Roy Cooper
PLAYS PRODUCED ON BROADWAY 367
Anni Linda Kozlowski Peter David Douglas Stender
John Garrard Peter Falk Doctor Don Howard
Dr. Horvath David Hurst
Directed by Michael Blakemore; scenery and costumes, Michael Annals; lighting, Martin
Aronstein; press, Jeffrey Richards, C. George Willard.
Comedy, members of a building trades firm at a trade fair in Frankfurt, Germany. The play was
presented in two parts. A foreign play previously produced in London.
I
PLAYS PRODUCED
OFF BROADWAY
Some distinctions between ofF-Broadway and Broadway productions at one end
of the scale and ofF-ofF-Broadway productions at the other were blurred in the
New York theater of the 1970s and 1980s. For the purposes of this Best Plays
Hsting, the term "off Broadway" is used to distinguish a professional from a
showcase (off-off-Broadway) production and signifies a show which opened for
general audiences in a mid-Manhattan theater seating 499 or fewer and 1) em-
ployed an Equity cast, 2) planned a regular schedule of 7 or 8 performances a
week and 3) offered itself to public comment by critics at a designated opening
performance.
Occasional exceptions of inclusion (never of exclusion) are made to take in
visiting troupes, borderline cases and a few nonqualifying productions which
readers might expect to find in this list because they appear under an off-Broad-
way heading in other major sources of record.
Figures in parentheses following a play's title give number of performances.
These figures do not include previews or extra non-profit performances.
Plays marked with an asterisk (*) were still running on June 1, 1983.
Their number of performances is figured from opening night through May 31,
1983.
Certain programs of oflf-Broadway companies are exceptions to our rule of
counting the number of performances from the date of the press coverage. When
the official opening takes place late in the run of a play's regularly-priced public
or subscription performances (after previews) we count the first performance of
record, not the press date, as opening night — and in each such case in the listing
we note the variance and give the press date.
In a listing of a show's numbers — dances, sketches, musical scenes, etc. — the
titles of songs are identified wherever possible by their appearance in quotation
marks (").
Most entries of off-Broadway productions which ran fewer than 20 perfor-
mances or scheduled fewer than 8 performances a week are somewhat ab-
breviated, as are entries on running repertory programs repeated from previous
years.
HOLDOVERS FROM PREVIOUS SEASONS
Plays which were running on June 1, 1982 are listed below. More detailed
information about them appears in previous Best Plays volumes of appropriate
date. Important cast changes since opening night are recorded in a section of this
volume.
368
PLAYS PRODUCED OFF BROADWAY 369
*The Fantasticks (9,600: longest continuous run of record in the Amencan theater).
Musical suggested by the play Les Romantiques by Edmond Rostand; book and lyrics by
Tom Jones; music by Harvey Schmidt. Opened May 30, 1960.
One Mo' Time (1,372). Vaudeville show conceived by Vemel Bagneris. Opened October
22, 1979. (Closed February 6, 1983)
♦Qoud 9 (847). By Caryl Churchill. Opened May 18, 1981.
American BufTalo (262). Revival of the play by David Mamet. Opened June 3, 1981.
(Suspended performances October 31, 1981) Reopened February 25, 1982. (Closed July
11, 1982)
♦Playwrights Horizons. * Sister Mary Ignatius Explains It All for You and *The Actor's
Nightmare (669). Program of two one-act plays by Christopher Durang. Opened October
21, 1981. *The Dining Room (552). By A.R. Gumey Jr. Opened Februar\- 24. 1982.
Geniuses (344). By Jonathan Reynolds. Opened May 13. 1982. (Closed March 13, 1983)
The Negro Ensemble Company. A Soldier's Play. (468). By Charles Fuller. Opened
November 20, 1981. (Closed January 2, 1983)
Roundabout Theater Company. The Browning Version by Terence Rattigan and The
Twelve-Pound Look by J.M. Barrie (200). Opened March 23. 1982. (Closed September 12.
1982) The Chalk Garden bv Enid Bagnold (96). Opened March 30, 1982. (Closed June
20, 1982)
New York Shakespeare Festival Public Theater. Antigone (109). Revival of the play by
Sophocles; translated by John Chioles. Opened April 27, 1982. (Closed June 6. 1982) '
Cast of Characters (55). One-woman show adapted by Patrizia Norcia. David Ka-
plan and William Bixby Jr.; based on The Art of Ruth Draper by Monon Dauwen
Zabel. Opened May 5, 1982. (Closed June 20, 1982)
Livingstone and Sechele (152). Bv David Pownall. Opened May 11, 1982. (Closed Septem-
ber 20. 1982)
The Six COock Boys (159). Bv Sidnev Morns. Opened Mav 12, 1982. (Closed September
26, 1982)
The American Place Theater The Regard of Flight and The Clown Bagatelles (83).
Comedy entertainment wntten bv Bill Irwin; original music bv Doue Skinner. Opened
May 23, 1982. (Closed August 22, 1982)
The Freak (22). Bv Granville Wvche Burgess. Opened Mav 27. 1982. (Closed June 13,
1982)
PLAYS PRODUCED JUNE 1, 1982-MAY 31, 1983
•Forbidden Broadway (441). Cabaret revue with concept and lyrics by Gerard Ales-
sandnni. Produced by Playkill Productions, Inc. at Palsson's Supper Club. Opened May
4, 1982 (see note).
Gerard Alessandrini Nora Mae Lyng
Fred Barton Chloe Webb
Bill Carmichael
370 THE BEST PLAYS OF 1982-1983
Directed by Jeff Martin (originally produced and directed by Michael Chapman, original night club
act mounted by Gerard Alessandrini, Pete Blue and Nora Mae Lyng); executive producer, Sella
Palsson; production stage manager, Steven Adler; press, Becky Flora.
Send-up of some of the past and present hits and misses among the shows on Broadway, with music
to match, and with the program changing to reflect the changing New York theater scene.
Understudies: Miss Lyng, Webb — Karen "La" Wilder; Messrs. Alessandrini, Carmichael — Jeffrey
Etjen.
Note: Forbidden Broadway opened in this same space 1/15/82 as an off-off-Broadway production
and was listed in the Plays Produced Off Off Broadway section of The Best Plays of 1981-82. Just
before the beginning of the 1982-83 season its production status was raised to full off-Broadway, and
the show has continued as such.
Harold Clurman Theater. Schedule of two programs (see note). With Love and Laugh-
ter (23). An evening of theater by various authors. Opened June 2, 1982. (Closed June 20,
1982) Hannah (15). By Israel Eliraz; music by Mark Kopytman. Opened February 16,
1983. (Closed February 27, 1983) And What Where, Catastrophe and Ohio Im-
promptu, program of one-act plays by Samuel Beckett, scheduled to open 6/15/83. Pro-
duced by the Harold Clurman Theater, Jack Garfein artistic director, at the Harold
Clurman Theater.
WITH LOVE AND LAUGHTER
The Woman Celeste Holm The Other Man Gordon Connell
The Man Wesley Addy
Directed by Peter Bennett; scenery, Harry Feiner; lighting, Todd Elmer; production coordinator,
Suzanne Soboloff; stage manager, Anthone Petito; press, Burnham-Callaghan Associates.
Presented in two parts, the play explores the question "Has the basic relationship between men and
women changed?" in excerpts from the works of de la Rochefoucauld, Sigmund Freud, William
Shakespeare, Celius Dougherty, Phyllis McGinley, Jean Anouilh, Roberta White, Max Shulman,
Harry Revel, Mack Gordon, William Saroyan, George Bernard Shaw, Alfred Sutro, Richard
Wilbur, Howard Lindsay, Russel Crouse, Margaret Mead, Richard Rodgers, Oscar Hammerstein
II, John Adams, James Thurber, Gretchen Cryer, Abigail Adams, Francis Hopkinson and anony-
mous authors.
HANNAH
Hannah Blanche Baker Brother Steve Pesola
Mother Lois Smith Soldiers David Sharpe, Joel Kaufman
Interrogator Stephen Lang
Kibbutz Members, Hungarian Citizens, Soldiers, Guests, Prisoners: Amanda Kercher, Leah
Kreutzer, Andrew Krichels, Jim May, Lorry May, Stuart Smith, Brian Taylor, Susan Thomasson.
Understudies: Miss Baker — Debra Griboff; Miss Smith — Lorry May; Messrs. Pesola, Lang — Stuart
Smith; Swing Dancer — Lorry May; Dance Captain — Leah Kreutzer.
Directed and choreographed by Anna Sokolow; produced by arrangement with Jack Law-
rence; scenery, Wolfgang Roth; costumes, Ruth Morley; lighting, Edward Effron; production stage
manager, Tom W. Picard; press, Shirley Herz Associates, Sam Rudy, Peter Cromarty.
Time: 1937-1944. The play was performed without intermission.
Dramatization, with music and dances, of the actual feats of a heroic Jewish woman who fought
against the Nazis in World War II and was captured and killed by the Hungarian Gestapo at age 23.
Note: The Harold Clurman Theater also produced off-off-Broadway programs this season; see their
entries in the Plays Produced Off Off Broadway section of this volume.
Booth (12). By Robert A. Morse. Produced by Kevin C. Donahue and John Hart Associ-
ates, Inc. in association with the South Street Theater, Inc. at the South Street Theater.
Opened June 10, 1982. (Closed June 20, 1982)
PLAYS PRODUCED OFF BROADWAY 371
Directed by Christopher Catt; scenery, David Chapman; costumes, Lindsay Davis; lighting,
Frances Aronson; musical sequences, David Spangler; combat choreography, A.C Weary; sound,
Lewis Mead; artistic advisor, Tim Lovejoy; press, Howard Atlee. With Michael Nouri, Michael
Connolly, Steve Bassett, Jane Cronin, Howard Korder, Peter Boyden, John Glover.
The Booth brothers — Edwin, Junius and John Wilkes — and the assassination of President Lincoln.
Looking-Glass (1). By Michael Sutton and Cynthia Mandelberg. Produced by Dan
Fauci, Joseph Scalzo and the Actors Institute in association with Frances T. Hillin, Allen
Schoer and Entermedia, Inc. at the Entermedia Theater. Opened and closed at the evening
performance June 14, 1982.
Directed by David H. Bell; scenery, John Arnone; costumes, Jeanne Button; lighting, Frances
Aronson; music by David Spangler and Marc Elliot; production stage manager, Douglas F.
Goodman; press. Merle Frimark, Cheryl Sue Dolby. With John Vickery, Richard Clarke, Robert
Machray, Nicholas Hormann, Richard Peterson, Mitchell Steven Tebo, Tara Kennedy, Tudi
Wiggins, Innes-Fergus McDade, Melanie Hague.
The Oxford University life and times of the author of Alice in Wonderland and the persons on
whom he based some of his characters. The play was presented in two parts.
Manhattan Theater Club. 1981-82 schedule ended with The Singular Life of Albert
Nobbs (27). By Simone Benmussa, from a short story by George Moore; translated by
Barbara Wright. Produced by the Manhattan Theater Club, Lynne Meadow artistic
director, Barry Grove managing director, at Manhattan Theater Club Downstage. Opened
June 16, 1982. (Closed July 10, 1982)
Hubert Page Lucinda Childs Helen Dawes Pippa Pearthree
Albert Nobbs Glenn Close 1st Chambermaid Keliher Walsh
2d Chambermaid Lynn Johnson George Moore's Voice David Warrilow
Kitty Maccan Anna Levine Alec's Voice D. King Rodger
Mrs. Baker Patricia O'Connell Joe Macklin's Voice Jamey Sheridan
Directed by Simone Benmussa; design, Simone Benmussa; scenery supervisor, Ron Placzek; light-
ing supervisor, Mai Sturchio; production stage manager. Amy Schecter; press, Patricia Cox, Bob
Burrichter.
Impoverished girl maintains a disguise as a man in order to hold a job as a waiter in a Dublin hotel.
The play was presented without intermission. A foreign play previously produced in Paris and
London.
Divine Hysteria (19). By Anthony P. Curry. Produced by William Ellis at the Nat Home
Musical Theater. Opened June 18, 1982. (Closed July 4, 1982)
Directed by William Ellis; scenery, Don Clay; costumes, Nina Roth; lighting, William Stall-
ings; sound, Sam Agar; stage manager, Arlene Roseman; press, Francine L. Trevens. With Brenda
Thomas, Jay Aubrey Jones, Betty Lester, Barbara Nadel, Phil Di Pietro, Michael Varna, Kathleen
Monteleone, Jeffrey Howard Kaufman, James Bartz, Althea Lewis.
Comedy, New Yorkers confront doomsday. The play was presented in two parts.
A Drifter, the Grifter & Heather McBride (9). Musical with book and lyrics by John
Gallagher; music by Bruce Petsche. Produced by Popcorn Productions at the 47th Street
Theater. Opened June 20, 1982. (Closed June 27, 1982)
Directed by Dick Sasso; musical direction and arrangements, Jeremy Harris; musical staging and
choreography, George Bunt; scenery and costumes, Michael Sharp; lighting, Richard Winkler; pro-
duction stage manager, Perry Cline; press, Cheryl Sue Dolby, Merle Frimark. With Ronald
Young, Elizabeth Austin, William Francis, Dennis Bailey, Chuck Karel, Mary Ellen Ashley.
An ad agency dropout, a ne'er-do-well and a Hoosier maid in a romantic triangle in a folksy setting.
372 THE BEST PLAYS OF 1982-1983
Jane Avril (40). By Jane Maria Robbins. Produced by Jenny Maybrook Besch at the
Provincetown Playhouse. Opened June 22, 1982. (Closed July 25, 1982)
Jane Avril Jane Maria Robbins Jean-Pierre Dufferin Richard Council
Henri de Toulouse-Lautrec. . . Kevin O'Connor Musician William Schimmel
Directed by Albert Takazauckas; scenery, Peter Harvey; costumes, David Murin; lighting, Mai
Sturchio; music, William Schimmel; dances, Ron Dabney; press, Jeffrey Richards, C. George
Willard.
The famous painter and his dancer-model.
The Negro Ensemble Company. 1981-82 schedule ended with Abercrombie Apoca-
lypse (32). By Paul Carter Harrison. Produced by The Negro Ensemble Company, Doug-
las Turner Ward artistic director, Leon B. Denmark managing director, at the Westside
Arts Theater. Opened June 22, 1982. (Closed July 18, 1982)
Culpepper Graham Brown Bethesda Barbara Montgomery
Jude Timothy B. Lynch
Directed by CHnton Turner Davis; scenery, Wynn Thomas; costumes, Myrna Colley-Lee; lighting,
Shirley Prendergast; sound, Gary Harris; production stage manager, Femi Sarah Heggie; press,
Howard Atlee, Ellen Levene.
Subtitled "An American Tragedy," drama of confrontation between a warped young man and the
caretaker of his family's mansion. The play was presented in two parts.
Roundabout Theater Company. 1981-82 schedule ended with The Learned Ladies (48).
Revival of the play by Moliere; English verse translation by Richard Wilbur. Opened
June 22, 1982; see note. (Closed August 1, 1982). The Fox (85). By Allan Miller; based
on the novella by D.H. Lawrence. Opened July 8, 1982; see note (Closed September 19,
1982). Produced by Roundabout Theater Company, Gene Feist and Michael Fried pro-
ducing directors. The Learned Ladies at the Haft Theater, The Fox at Roundabout
Stage One.
BOTH PLAYS: Scenery, Roger Mooney; sound, Philip Campanella; press, Susan Bloch &
Co., Adrian Bryan-Brown, Ellen Zeisler.
THE LEARNED LADIES
Chrysale Philip Bosco Clitandre Randle Mell
Philaminte Rosemary Murphy Trissotin Richard Kavanaugh
Armande Jennifer Harmon Vadius Gordon Chater
Henriette Cynthia Dozier Martine Ann MacMillan
Belise Carol Teitel Lepine Thomas Delaney
Ariste Robert Stattel Julien George Holmes
Servants: Bonita Beach, Paul Booth, Marcia Cross.
Directed by Norman Ayrton; costumes, John David Ridge; lighting, David F. Segal; production
stage manager, Howard Kolins.
Time: 1672. Place: Chrysale's house in Paris. The play was presented in two parts.
Both 20th century New York productions of record of The Learned Ladies (Les Femmes Sa-
vantes) have been in the French language, by Le Treteau de Paris 2/6/67 for 9 performances and
the Comedie Frangaise 2/13/70 for 5 performances.
THE FOX
Nellie March Jenny O'Hara Henry Grenfel Anthony Heald
Jill Banford Mary Layne
THE LEARNED LADIES— Rosemary Murphy, Randle Mell, Cyn-
thia Dozier and Phihp Bosco in the Roundabout's Mohere revival
Directed by Allan Miller; scenery, Roger Mooney; costumes, A. Christina Giannini; lighting,
Ronald Wallace; sound, Philip Campanella; production stage manager, M.R. Jacobs.
Time: November, 1918. Place: The old Bailey farm in England. The play was presented in two parts.
Young soldier enters the life of two women living in a secluded farmhouse. The play was presented
in two parts.
Note: Press date for The Learned Ladies was 7/14/82, for The Fox was 8/19/82.
Life Is Not a Doris Day Movie (37). Musical with book and lyrics by Boyd Graham; music
by Stephen Graziano. Produced by Reid-Dolph, Inc., Stephen O. Reid producer, at the
Top of the Gate. Opened June 25, 1982. (Closed July 25, 1982)
Lingerie Salesman Boyd Graham Waitress Neva Small
Singing Telegram Lady Mary Testa
Understudy: Misses Testa. Small — Olga Merediz.
Directed by Norman Rene; musical direction, Jim Cantin; choreography, Marcia Milgrom
Dodge; scenery, Mike Boak; costumes, Walter Hicklin; lighting, Debra J. Kletter; arrangements,
Elliot Weiss; production stage manager, Susi Mara; press, Betty Lee Hunt, Maria Cnstma Pucci,
James Sapp.
374 THE BEST PLAYS OF 1982-1983
Time: Dawn. Place: A bus stop at the tip of Manhattan.
Show business aspirants wish someone would give them a chance and show (in Act II) what they
could do if someone did.
MUSICAL NUMBERS, ACT I: "Waiting for the Bus of Life," "Don't Cry for Me," "Lament,"
"Oh, William Morris," "The Fashion Show," "The Last Thing That I Want to Do Is Fall in Love,"
"You'll Be Sorry," "Tribute," "Little Girl-Big Voice," "I'm So Fat," "The Uh Oh Could It Be That
I'm an Oh No Tango," "The Right Image/The Last Chance Revue."
ACT II: "It's a Doris Day Morning," "Influenza," "Last Chance Series," "Super Wasp," "Report
on Status," "A Man Who Isn't," "Geographically Undesirable," "Whoa Boy," "Junk Food Boogie,"
"Public Service Message," "Singer Who Moves Well," "Not Mister Right," "Pause for Prayer,"
"Cavalcade of Curtain Calls," "Think of Me."
New York Shakespeare Festival. Summer schedule of two outdoor revivals. Don
Juan (26). By Moliere; translated by Donald M. Frame. Opened June 25, 1982; see note.
(Closed July 24, 1982) A Midsummer Night's Dream (29). By William Shakespeare.
Opened August 3, 1982; see note. (Closed September 5, 1982) Produced by New York
Shakespeare Festival, Joseph Papp producer, at the Delacorte Theater in Central Park.
DON JUAN
Sganarelle Roy Brocksmith Poor Man Christopher McCann
Gusman Burke Pearson Don Carlos Frank Maraden
Don Juan John Seitz Don Alonse Andreas Katsulas
Dona Elvire Pamela Payton-Wright Statue George McGrath
Charlotte Margaret Whitton La Violette Marcell Rosenblatt
Pierrot Clarence Felder M. Dimanche Wilham Hickey
Mathurine Deborah Offner Ragotin; Spectre Wanda Bimson
La Ramee William Duff-Griffin Don Louis James Cahill
French Ladies and Gentlemen: Jere Burns, Frank Dahill, Kate Falk, Cynthia Gillette, Katherine
Gowan, Yolanda Hawkins, Timothy Jeffryes, Ric Lavin, Melissa Leo, Kelly McGillis, Christine
Morris, Thomas Q. Morris, Susan Murray; Laurence Overmire, Alex Paul, Ken Scherer, Jack
Stehlin, Darrell Stern.
Understudies: Mr. Seitz — Christopher McCann; Mr. Brocksmith — Burke Pearson; Miss Payton-
Wright — Kelly McGillis; Mr. Maraden — Jere Burns; Messrs. Katsulas, McGrath — Frank Dahill;
Mr. Cahill — Ric Lavin; Messrs. Felder, Hickey — Thomas Q. Morris; Miss Offner — Melissa Leo; Miss
Whitton — Christine Morris; Mr. Duff-Griffin — Alex Paul; Mr. McCann — Jack Stehlin; Miss Rosen-
blatt— Penelope Smith; Miss Bimson — Katherine Gowan; Mr. Pearson — William Duff-Griffin.
Directed by Richard Foreman; scenery, Richard Foreman; associate set designer, Nancy Win-
ters; costumes, Patricia Zipprodt; lighting, Spencer Mosse; sound, Daniel M. Schreier; production
supervisor, Jason Steven Cohen; production stage manager, Michael Chambers; stage manager, Susan
Green; press. Merle Debuskey, John Howlett, Richard Kornberg, Bruce Campbell.
Moliere's Don Juan was last produced off Broadway in Classic Stage Company repertory 1/20/80.
The play was presented in two parts.
A MIDSUMMER NIGHT'S DREAM
Philostrate Ricky Jay Bottom Jeffrey De Munn
Hippolyta Diane Venora Flute Paul Bates
Theseus James Hurdle Starveling J. Patrick O'Brien
Egeus Ralph Drischell Snout Andreas Katsulas
Hermia Deborah Rush Snug Peter Crook
Demetrius Rick Lieberman Puck Marcell Rosenblatt
Lysander Kevin Conroy Oberon William Hurt
Helena Christine Baranski Titania Michele Shay
Quince Steve Vinovich
I
PLAYS PRODUCED OFF BROADWAY 375
Prologue: Tina Paul, Tim Flavin, Paul Kreshka, Cheryl McFadden. Fairies: Tessa Capodice, Tim
Flavin, Leah Carla Gordone, Roshi Handwerger, Paul Kreshka, Emmanuel Lewis, Cheryl
McFadden, Nicky Paraiso, Tina Paul, Angela Pietropinto, Rosemary Richert. Attendants to the
Duke: Caroline McGee, David Logan-Morrow, Marcie Shaw.
Musicians: Katherine Muellor conductor, alto flute, piccolo; Deborah Gilwood piano, celeste;
William Uttley percussion; John Gustafson oboe, English horn; Michael A. Ellert bassoon, bass
clarinet, flutes; Paul Friedman violin, viola; Mary Rowell violin; Stephen Ametrano trumpet, flugel-
horn, piccolo trumpet; Matthew Zory double bass; Marcie Shaw vocalist.
Understudies: Messrs. Lieberman, Conroy — Peter Crook; Miss Shay — Caroline McGee; Misses
Venora, Baranski — Cheryl McFadden; Messrs. De Munn, Vinovich, Bates, Katsulas — Paul
Kreshka; Messrs. Crook, O'Brien — Nicky Paraiso; Messrs. Hurdle, Drischell, Jay — David Logan-
Morrow; Misses Rosenblatt, Rush — Angela Pietropinto.
Directed by James Lapine; choreography, Graciele Daniele; music Allen Shawn; scenery, Heidi
Landesman; costumes, Randy Barcelo; lighting, Frances Aronson; magic effects, Ricky Jay; produc-
tion stage manager, D.W. Koehler; stage manager, Johnna Murray.
Place: Athens, and a wood not far from it. The play was presented in two parts.
A Midsummer Night's Dream was last produced off" Broadway by the Acting Company 4/25/81
for 2 performances.
Note: Press date for Don Juan was 7/1/82, for A Midsummer Night's Dream 8/15/82.
Circle Repertory Company. 1981-82 schedule ended with A Think Piece (19). By Jules
Feiifer. Opened June 26, 1982. (Closed July 11, 1982) Johnny Got His Gun (27). By
Bradley Rand Smith; adapted from the novel by Dalton Trumbo. Opened August 10, 1982.
(Closed September 2, 1982) Produced by Circle Repertory Company, Marshall W.
Mason artistic director, Richard Frankel managing director, at the Circle Theater.
A THINK PIECE
Betty Debra Mooney Ginny Tenney Walsh
Pam Katherine Cortez Lulu Samantha Atkins
Gordon Andrew Duncan Zero Patches
Mandy Ann Sachs
Directed by Caymichael Patten; scenery, Kert Lundell; costumes, Denise Romano; lighting, Dennis
Parichy; sound. Chuck London Media/Stewart Werner; production stage manager, Ginny Mar-
tino; press, Reva Cooper.
The humdrum conventions of family life conceal below the surface of its individuals an emotional
turbulence revealed in the course of the play. The play was presented in two parts.
JOHNNY GOT HIS GUN
Joe Bonham Jeff Daniels
Directed by Elinor Renfield; scenery, Kert Lundell; costumes, Miriam Nieves; lighting, Mai
Sturchio; musical consultant. Carman Moore; sound. Chuck London Media; production stage man-
ager, Ann Bridgers.
Thoughts of a World War I quadriplegic casualty. The play was presented without intermis-
sion.
Playwrights Horizons. 1981-82 schedule ended with Herringbone (46). Play with songs
based on an original play by Tom Cone; book by Tom Cone; music by Skip Kennon; lyrics
by Ellen Fitzhugh. Opened June 30, 1982. (Closed August 27, 1982) Produced by Play-
wrights Horizons, Andre Bishop artistic director, Paul Daniels managing director, at
Playwrights Horizons Mainstage.
Thumbs DuBois Skip Kennon
Herringbone David Rounds
376 THE BEST PLAYS OF 1982-1983
Directed by Ben Levit; musical numbers staged by Theodore Pappas; scenery, Christopher
Nowak; costumes, Karen Matthews; Ughting, Frances Aronson; production stage manager, Pam
Marsden; press, Bob Ullman, Louise Ment.
Southern-born youth is possessed by an evil spirit and driven to a career as a performer. The ten
roles, old and young, male and female, were all played by David Rounds, with Skip Kennon at the
piano. The play was presented in two parts. Previously produced at the St. Nicholas Theater,
Chicago.
Note: During the 1982-83 season, Playwrights Horizons also co-produced with American Place
Theater Buck by Ronald Ribman at American Place Theater (see its entry elsewhere in this section
of this volume). The Playwrights Horizons production of the musical America Kicks Up Its
Heels, book and lyrics by Charles Rubin, music by William Finn, directed by Mary Kyte and Ben
Levit, choreography by Mary Kyte, musical direction and orchestrations by Michael Starobin,
scenery and costumes by Santo Loquasto, lighting by Frances Aronson, with Robin Boudreau, Robert
Dorfman, Peggy Hewett, I.M. Hobson, Rodney Hudson, Alexandra Korey, Dick Latessa, Patti
LuPone and Lenora Nemetz, was presented in previews 3/3/83-3/27/83 but its opening was can-
celled.
Playwrights Horizons also presented programs off off Broadway this season; see their entries in the
Plays Produced Off Off Broadway section of this volume.
Broken Toys (29). Musical with book, music and lyrics by Keith Berger. Produced by
Dani Ruska and Marina Spinola at the Actors' Playhouse. Opened July 16, 1982. (Closed
August 8, 1982)
Melissa Debra Greenfield Randy Lonnie Lichtenberg
Rooty Kazooty Keith Berger Golly Daud Svitzer
Kanga Nerida Normal Pretty Polly Lucille
Big Dolly Oona Lind 3-D Jesus Johnny Zeitz
Kandy Cheryl Lee Stockton
Directed by Carl Haber; scenery, Lisa Beck; costumes, Mara Lonner, Karen Dusenbury; lighting,
Kevin Jones; musical arrangements, Lou Forestieri; production stage manager, Alan Preston; press,
Shirley Herz Associates, Sam Rudy, Peter Cromarty.
Place: The bedroom and attic of a suburban house.
Young girl falls in love with a toy soldier who comes to life, life-sized.
MUSICAL NUMBERS, ACT I: 'This Life's the Right One for Me," "We're on a Shelf in Your
Attic," "Play With Me," "Broken & Bent," "Let's Play Let's Say," "I Don't Play With Humans,"
"Prayer Song," "Johnny Space," "Choo Choo Rap, "Lady Ride With Me," "Not of Her World,"
"Kangaroo Court," "I Don't Think I Like This Game."
ACT II: "The Temperance Song," "So Ya Wanna Be a Toy," "I Got That Other Lady's With My
Baby Feeling," "Ain't Worth a Dime," "Rag Doll Rag," "Funny Wind-Up Toy," "Left Alone To
Be," "Weird Fun," "Wind-Up in New York City."
♦Little Shop of Horrors (356). Musical based on the film by Roger Gorman; book and
lyrics by Howard Ashman; music by Alan Menken. Produced by the WPA Theater, Kyle
Renick producing director, David Geffen, Cameron Mackintosh and The Shubert Or-
ganization at the Orpheum Theater. Opened July 27, 1982.
Chiffon Leilani Jones Derelict Martin P. Robinson
Crystal Jennifer Leigh Warren Orin; Bernstein; Snip;
Ronnette Sheila Kay Davis Luce; Everyone Else Franc Luz
Mushnik Hy Anzell Audrey II
Audrey Ellen Greene (Manipulation) Martm P. Robinson
Seymour Lee Wilkof Audrey II (Voice) Ron Taylor
Musicians: Robert Billig piano, Robby Merkin electronic keyboards, Steve Gelfand bass guitar,
Steve Ferrera percussion.
PLAYS PRODUCED OFF BROADWAY 377
Standbys: Miss Greene — Katherine Meloche; Mr. Anzell — Fyvush Finkel; Misses Jones, Warren,
Davis — Deborah Lynn Sharpe; Messrs. Wilkof, Luz, Taylor — Brad Moranz; Mr. Robinson — An-
thony Asbury.
Directed by Howard Ashman; musical staging, Edie Cowan; musical direction, supervision and
vocal arrangements, Robert Billig; scenery. Edward T. Gianfrancesco; costumes, Sally Lesser; light-
ing, Craig Evans; sound, Otts Munderloh; puppets, Martin P. Robinson; orchestrations, Robby
Merkin; production stage manager, Paul Mills Holmes; press, Milly Schoenbaum, Solters/Roskin/
Friedman, Inc., Warren Knowlton, Kevin Patterson.
Comic fantasy about a carnivorous plant growing out of control. Previously produced off off
Broadway by the WPA Theater.
Fyvush Finkel replaced Hy Anzell, Faith Prince replaced Ellen Greene, Brad Moranz replaced
Lee Wilkof, Anthony B. Asbury replaced Martin P. Robinson, Robert Frisch replaced Franc
Luz 3/18/83.
ACT I
Prologue ("Little Shop of Horrors") Chiffon, Crystal, Ronnette
"Skid Row (Downtown)" Company
"Grow for Me" Seymour
"Don't It Go to Show Ya Never Know" Mushnik, Chiffon, Crystal, Ronnette, Seymour
"Somewhere That's Green" Audrey
"Closed for Renovations" Seymour, Audrey, Mushnik
"Dentist!" Orin, Chiffon, Crystal, Ronnette
"Mushnik and Son" Mushnik, Seymour
"Git It!" Seymour, Audrey II
"Now (It's Just the Gas)" Seymour, Orin
ACT II
"Call Back in the Morning" Seymour, Audrey
"Suddenly, Seymour" Seymour, Audrey
"Suppertime" Audrey II
"The Meek Shall Inherit" Company
Finale ("Don't Feed the Plants") Company
New York Shakespeare Festival. 1981-82 schedule ended with The Death of Von Rich-
tofen as Witnessed From Earth (45). Musical written and composed by Des McA-
nuff. Opened July 29, 1982. (Closed September 5, 1982) Produced by New York Shakes-
peare Festival, Joseph Papp producer, at the Estelle R. Newman Theater.
R. Raymond-Barker Robert Westenberg Karl Bodenschatz Jeffrey Jones
N.C.O. Secull Marek Norman Violinist Sigrid Wurschmidt
Robert Buie Robert Joy Lutanist Susan Berman
William Evans Mark Linn-Baker Flautist Peggy Harmon
Wolfram Von Richtofen Brent Barrett German Lance Corporal Mark Petrakis
Manfred Von Richtofen John Vickery Hermann Goering Bob Gunton
The Flying Circus: Michael Brian, Eric Elice, Davis Gaines, Karl Heist, Tad Ingram, Ken
Land, Martha Wingate.
Musicians: Michael S. Roth conductor, piano; Joe Barone bass, percussion; Paul Litteral trumpet,
flugelhorn, piccolo trumpet; Phil Marsh electric-acoustic guitars; James McElwaine clarinet, synthe-
sizer, alto-soprano saxophones; Don Mikkelsen trombone, tuba; Glenn Rhian drums, timpani, vibes;
James Tunnell electric-acoustic guitars.
Understudies: Mr. Joy — Karl Heist; Messrs. Gunton, Petrakis — Tad Ingram; Mr. Barrett — Eric
Elice; Mr. Linn-Baker — Michael Bnan; Mr. Jones — Ken Land; Mr. Westenberg — Davis Games; Mr.
Vickery — Robert Westenberg; Misses Wurschmidt, Berman, Harmon — Martha Wingate; Swing —
David Jordan.
Directed by Des McAnuff; choreography, Jennifer Muller; musical direction, Michael S. Roth;
scenery, Douglas W. Schmidt; costumes, Patricia McGourty; lighting, Richard Nelson; sound effects.
378 THE BEST PLAYS OF 1982-1983
James Lebrecht; orchestrations, Michael Starobin; vocal arrangements, Michael Starobin, Michael S.
Roth, Des McAnuff; production supervisor, Jason Steven Cohen; production stage manager, Fredric
H. Orner; stage manager, Loretta Robertson; press. Merle Debuskey, Richard Romberg, John
Howlett, Bruce Campbell.
Time: 1918, the afternoon and evening of April 20 and the morning of April 21. Place: France,
the West, No Man's Land, the East
Self-described as "a play with flying and songs," about the death of Baron Manfred Von Richtofen
and Germany's hunger for a larger than life-sized, Hitlerian idol.
ACT I
"All I Wanted Was a Cup of Tea" Raymond-Barker, Secull
"Our Red Knight" Wolfram, Flying Circus
"Good Luck" Flying Circus
"Speed" Manfred
"Sweet Eternity" Raymond-Barker, Secull
"Take What You Can" Three Women (Violinist, Lutanist, Flautist)
"If I Have the Will" Lance Corporal
"I've Got a Girl" Buie, Evans, Secull, Three Women
"England — The U.K." Raymond-Barker, Secull, Flying Circus
"Save the Last Dance" Three Women, Goering, Bodenschatz
"If I Have the Will" (Reprise) Lance Corporal, Three Women
"Here We Are" Manfred, Buie, Evans, Secull, Flying Circus
"Congratulations" Bodenscatz, Goering, Three Women
"Stand Up the Fatherland" Bodenschatz, Goering, Wolfram, Buie, Evans, Secull,
Three Women, Flying Circus
ACT II
"Sitting in the Garden Secull, Raymond-Barker, Buie, Evans, Flying Circus
"It's All Right God/Four
White Horses" Buie, Evans, Raymond-Barker, Secull, Manfred, Flying Circus
"1918" Raymond-Barker, Secull, Buie, Evans
"Dear Icarus" Three Women
"Sarah" Manfred
"I Don't Ask About Tomorrow" Lance Corporal
"April Twenty-One" Buie, Evans, Raymond-Barker, Secull, Flying Circus
"The Skies Have Gone Dry" Bodenschatz, Goering, Wolfram
"Sarah" (Reprise) Three Women
Charlotte Sweet (102). Musical with libretto by Michael Colby; music by Gerald Jay
Markoe. Produced by Power Productions and Stan Raiff at the Westside Arts Center.
Opened August 12, 1982. (Closed November 7, 1982)
Harry Host Michael McCormick Katinka Bugaboo Sandra Wheeler
Cecily Macintosh Merle Louise Barnaby Bugaboo Alan Brasington
Skitzy Scofield Polly Pen Charlotte Sweet Mara Beckerman
Bob Sweet Nicholas Wyman Ludlow Ladd Grimble Christopher Seppe
Standby s: Misses Beckerman, Louise, Pen, Wheeler — Tricia Witham; Messrs. McCormick,
Wyman, Brasington, Seppe — Michael Dantuano.
Directed by Edward Stone; choreography, Dennis Dennehy; musical direction, Jan Rosenberg;
scenery, Holmes Easley; costumes, Michele Reisch; lighting, Jason Kantrowitz; orchestrations, John
McKinney; production stage manager, Peter Weicker; press, Jeffrey Richards Associates, C. George
Willard.
Time: The turn of the century. Place: England.
All-music musical with a Victorian-style melodramatic plot, previously produced off off Broadway.
Jeffrey Keller replaced Alan Brasington, Timothy Landfield replaced Nicholas Wyman and Lynn
Eldredge replaced Sandra Wheeler during the show's run.
PLAYS PRODUCED OFF BROADWAY 379
ACT I
"At the Music Hall" Harry, Ensemble
"Charlotte Sweet" Bob, Charlotte, Ensemble
"A Daughter of Valentine's Day" Charlotte, Ensemble
"Forever" Ludlow, Charlotte
"Liverpool Sunset" Ensemble
"Layers of Underwear" Bob, Katinka, Barnaby, Charlotte
"Quartet Agonistes" Katinka, Barnaby, Charlotte, Bob
"The Circus of Voices" Barnaby, Katinka, Skitzy, Cecily, Harry, Charlotte
"Keep It Low" Katinka, Men's Chorus
"Bubbles in Me Bonnet" Cecily
"Vegetable Reggie" Harry
"My Baby and Me" Skitzy
"A- Weaving" Charlotte, Women's Chorus
"Your High Note!" Charlotte, Barnaby, Katinka
"Katinka/The Darkness" Barnaby
ACT II
"On It Goes" Ensemble
"You See in Me a Bobby" "Patrick," Barnaby, Katinka
"A Christmas Buche" Charlotte, Cecily, Skitzy, Harry
"The Letter" (Me Charlotte Dear) Ludlow
"Dover" Skitzy
"Good Things Come" Cecily
"It Could Only Happen in the Theater" Harry, "Patrick," Skitzy, Cecily
"Lonely Canary" Charlotte
"Queenly Comments" "The Queen," Barnaby, Katinka, "Patrick," Charlotte
"Surprise! Surprise!" Ensemble
"The Reckoning" Ensemble
"Farewell to Auld Lang Syne" Ensemble
R.S.V.P. (127). Revue with sketches, music and lyrics by Rick Crom. Produced by Pierrot
Productions at Theater East. Opened August 24, 1982. (Closed December 26, 1983)
Christopher Durham Julie Sheppard
John Fucillo John Wyatt
Lianne Johnson
Directed by Word Baker and Rod Rogers; musical director, Glen Kelly; scenery, Carleton
Varney; costumes, Jerry Hart; lighting, Dan Fabrici; stage manager, Louise Miller; press, Free Lance
Talents, Inc., Francine L. Trevens.
Topical revue, the problems of living in New York City. The show was presented in two parts.
Jeri Winbarg replaced Julie Sheppard 9/21/82; Christopher Tracy replaced Christopher Dur-
ham 9/29/82.
Inserts (14). By John Byrum. Produced by D.E. Betts, Ned Davis and Michael Saltz at
the Actors & Directors Theater. Opened September 8, 1982. (Closed September 19, 1982)
Directed by Larry Loonin; scenery, Norm Dodge; costumes, Andrew Marley; press, Burnham-
Callaghan Associates, Owen Levy. With Kevin O'Connor, Patrick Hurley, Edward Setrakian, Wen-
dell Meldrum, Hope Stansbury.
Adaptation of 1975 movie about a Hollywood director reduced to making blue movies.
Manhattan Theater Club. Schedule of eight programs; see note. Talking With (56). By
Jane Martin; the Actors Theater of Louisville production. Opened September 21, 1982;
see note. (Closed November 7, 1982) Standing on My Knees (40). By John Olive. Opened
ELBA — Audra Lindley and Barbara Sohmers in the Manhat-
tan Theater Club production of a play by Vaughn McBride
October 12, 1982; see note. (Closed November 14, 1982) Three Sisters (48). Revival of the
play by Anton Chekhov; new English version by Jean-Claude van Itallie. Opened Novem-
ber 30, 1982; see note. (Closed January 9, 1983) Skirmishes (72). By Catherine
Hayes. Opened December 21, 1982; see note. (Closed February 20, 1983) Summer (48).
By Edward Bond. Opened January 25, 1983; see note. (Closed March 6, 1983).
Also Triple Feature (40). Program of one-act plays: Slacks and Tops by Harry
Kondoleon, Haifa Lifetime by Stephen Metcalfe and The Groves of Academe by Mark
Stein. Opened March 8, 1983; see note. (Closed April 10, 1983) Elba (25). By Vaughn
McBride. Opened March 22, 1983; see note. (Closed May 1, 1983) Early Warnings (40).
Program of one-act plays by Jean-Claude van Itallie: Bag Lady, Sunset Freeway and Final
Orders. Opened April 26, 1983; see note. (Closed May 29, 1983) Produced by Manhattan
Theater Club, Lynne Meadow artistic director, Barry Grove managing director, at Man-
hattan Theater Club.
ALL PLAYS: Associate artistic director, Douglas Hughes; literary manager, Jonathan Alper;
production manager, Peter Glazer; press, Patricia Cox, Eliza Gaynor.
TALKING WITH
ACT I: Fifteen Minutes — Laura Hicks; Scraps — Penelope Allen; Clear Glass Marbles — Sally Faye
Reit; Audition — Ellen Tobie; Rodeo — Margo Martindale; Twirler — Lisa Goodman.
ACT II: Lamps — Anne Pitoniak; Handler — Susan Cash; Dragons — Lee Anne Fahey; French Fries
— Theresa Merritt; Marks — Lynn Milgrim.
Directed by Jon Jory; scenery, Tony Straiges; costumes, Jess Goldstein; lighting, Pat Collins;
production stage manager, Elizabeth Ives; stage manager, David K. Rodger.
Program of 11 monologues by widely varied women characters, previously produced at Actors
Theater of Louisville and named an outstanding new play of last season in regional theater by the
American Theater Critics Association (see The Best Plays of 1981-82).
PLAYS PRODUCED OFF BROADWAY 381
STANDING ON MY KNEES
Catherine Pamela Reed Alice Jean DeBaer
Joanne Tresa Hughes Robert Robert Neches
Directed by Robert Falls; scenen, David Emmons; costumes, Nan Cibula: lighting, William
Mintzer; production stage manager, Johnna Murray; stage manager, Alice Jankowiak.
A poet's schizophrenia has an impact upon her work and her friends. The play was presented in
two parts. Previously produced at the Wisdom Bridge, Chicago.
THREE SISTERS
Olga Lisa Banes Nicolai Lvovich Tuzenbach Bob Balaban
Masha Dianne Wiest Vasily Vasilevich Solyony. . Stephen McHattie
Irina Mia Dillon Ivan Romanich Chebutykin Jack Gilford
Andrei Sergeevich Prozorov Jeff Daniels Alexei Fedotik Brian Hargrove
Natasha Christine Ebersole Vladimir Rode Gene O'Neill
Fyodor Ilych Kulygin Baxter Harris Ferapont Jerome Collamore
Alexander Ignatevich Anfisa Margaret Barker
Vershinin Sam Waterston Maid Rosemary Quinn
Standbys: Messrs. McHattie, Hargrove, O'Neill — George Bamford; Messrs Harris, Waterston —
James Burge; Misses Barker. Quinn — Sheila Coonan; Mr. Balaban — Brian Hargrove; Mr. Daniels —
Gene O'Neill; Misses Banes, Wiest — Rosemary Quinn; Misses Dillon, Ebersole — Denise Stephen-
son; Messrs. Gilford, Collamore — John Straub.
Directed by Lynne Meadow; scenery, Santo Loquasto; costumes, Dunya Ramicova; lighting, Pat
Collins; music, Jonathan Sheffer; sound. Chuck London Media/Stewart Werner; associate artistic
director, Douglas Hughes; production stage manager, Wendy Chapin; stage manager, Alice
Dewey.
Place: A provincial Russian town. Act I: The Prozorovs' house, lunchtime. Act II: The same, a
year and a half later, 8 o'clock in the evening. Act III: Olga's and Inna's room, a year later, 3 o'clock
in the morning. Act IV: The garden, eight months later, noon. The play was presented in three parts
with intermissions following Acts II and III.
Three Sisters was last produced off Broadway by the BAM Theater Company 4/26/77 for 24
performances.
SKIRMISHES
Jean Suzanne Bertish Mother Hoj)e Cameron
Rita Fran Brill
Directed by Sharon Ott; scenery, Kate Edmunds; costumes, Susan Hilferty; lighting, Dennis
Parichy; production stage manager, Barbara Abel.
Time: The present. Place: England. The play was presented without intermission.
Tale of two sisters, one having remained at home to take care o( mother, one having left for
marriage. A foreign play previously produced in Liverpool and London.
SUMMER
David David Pierce Marthe Betty Miller
Xenia Frances Sternhagen Heinrich Hemmel Tom Brennan
Ann Caitlin Clarke
Standbys: Mr. Brennan — John Clarkson; Misses Sternhagen, Miller — Jean Matthiessen; Miss
Clarke — Denise Stephenson.
Directed by Douglas Hughes; scenery, Tony Straiges; costumes, Linda Fisher; lighting, Pat
Collins; music, Paul Sullivan; sound. Chuck London Media/Stewart Werner; associate artistic direc-
tor, Douglas Hughes; production stage manager, John Beven; stage manager, Susi Mara.
Time: The present. Place: Eastern Europe, the terrace of a cliff house facing the sea. Scene 1: The
terrace, late Fnday night. Scene 2: The terrace, Saturday morning. Scene 3: The terrace. Saturday
I
382 THE BEST PLAYS OF 1982-1983
afternoon. Scene 4: The island, Sunday afternoon. Scene 5: The terrace, Sunday night. Scene 6: The
terrace, early Monday morning. Scene 7: (The Agreement) The terrace, late Monday morning. The
play was presented in three parts.
Two women in confrontation over past events which included the Nazi occupation of their area.
A foreign play previously produced in London.
TRIPLE FEATURE
The Groves of Academe Time: The present. Place: A basement family
Bill Groves Terrance O'Quinn room. High school students in crisis.
Paul Morris Neal Jones
Directed by Steven Schachter. ^^^^^^ ^"^ ^^P^
Time: The present. Place: Groves's office. Per- ^^"^^ Sasha von Scherler
sonal and professional relationships of a student Connie Amy Wright
and teacher. Todd Dan B. Sedgwick
Edwin Eddie Jones
Haifa Lifetime Ginger Jessica Rene Carroll
Tobias James Rebhorn Directed by Douglas Hughes.
Spalding Peter Zapp Time: The present. Place: A motel room near
Winninger John Goodman J.F.K. Airport. An American family in flight to
Winter J.T. Walsh Africa to escape their problems.
Directed by Dann Florek.
Scenery, Pat Woodbridge; costumes, Jess Goldstein; lighting, Ann Wrightson; production stage
manager, David K. Rodger.
ELBA
Don James Whitmore Harley Ann Wedgeworth
Flo Audra Lindley Lete Barbara Sohmers
Young Roy Fames Frank Hamilton
Standbys: Miss Lindley — Helen Jean Arthur; Messrs. Whitmore, Hamilton — Nesbitt Blaisdell.
Directed by Tom BuUard; scenery, Kate Edmunds; costumes, Patricia McGourty; lighting, Dennis
Parichy; sound, Chuck London Media/Stewart Werner; production stage manager, Susie Cor-
don; stage manager, James Dawson.
Time: Summer, early 1960s. Place: The main room of a small ranch house in Elba, Idaho. The play
was presented in two parts.
Elderly couple runs away from a nursing home and returns to the old homestead.
EARLY WARNINGS
Bag Lady Actress on her way to a casting couch audi-
Clara Shami Chaikin tion.
Hallucinations of a street derelict, previously
produced off off Broadway at Theater for the
Final Orders
New City Angus McGrath Colin Stinton
Mike Patterson Evan Handler
Sunset Freeway Two doomed astronauts on an outer-space
Judy Rosemary Quinn mission.
Recorded voices: Joyce Aaron, Roger Babb, Shami Chaikin, Patrick D' Antonio, Rosemary
Quinn, Colin Stinton, Vladimir Velasco.
Directed by Steven Kent; scenery, David Potts; costumes, Gwen Fabricant; lighting, Dennis
Parichy; sound, Bill Dreisbach, Don Preston; TV entertainment time sequences from Laurel and
Hardy's Their First Mistake; production stage manager, Ruth Kreshka; stage manager, Patrick
D' Antonio.
Note: The Manhattan Theater Club's Upstage programs (Standing on My Knees, Skirmishes, Triple
Feature and Early Warnings), formerly listed in our Plays Produced Off Off Broadway section, were
PLAYS PRODUCED OFF BROADWAY 383
upgraded this season to full off-Broadway status along with the group's Downstage programs (Talking
With, Three Sisters, Summer and Elba). Press date for Talking With was 10/3/82, for Standing on
My Knees was 10/24/82, for Three Sisters was 12/21/82, for Skirmishes was 12/30/82, for
Summer was 2/10/83, for Triple Feature was 3/29/83, for Elba was 4/10/83, for Early Warn-
ings was 5/8/83.
* Roundabout Theater Company. Schedule of four revival programs. The Holly and the
Ivy (199). By Wynyard Browne. Opened September 21, 1982; see note. (Closed March 13,
1983) The Entertainer (96). By John Osborne. Opened December 21, 1982; see note.
(Closed March 12, 1983) *Duet for One (38). By Tom Kempinski. Opened March 15,
1983; see note. *Winners by Brian Friel and *How He Lied to Her Husband by George
Bernard Shaw (46). Opened March 22, 1983; see note. Produced by the Roundabout
Theater Company, Gene Feist producing director, Todd Haimes managing director, at the
Roundabout Theater, The Entertainer and Duet for One at Stage One, The Holly and the
Ivy and Winners at the Susan Bloch Theater (formerly Stage Two).
THE HOLLY AND THE IVY
Rev. Martin Gregory Gwyllum Evans Aunt Lydia Betty Low
Jenny Jennifer Harmon Aunt Bridget Helen Lloyd Breed
Margaret Pamela Brook Richard Wyndham Thomas Ruisinger
Mick Frank Grimes David Paterson Gerald Walker
Directed by Lindsay Anderson; scenery, Roger Mooney; costumes, A. Christina Giannini; lighting,
Ronald Wallace; sound, Philip Campanella; production stage manager, Kurt Wagemann; press, Susan
Bloch & Co., Adrian Bryan-Brown, Ron Jewell, Ellen Zeisler.
Time: 1949. Place: The living room of a vicarage in Norfolk, England. Act L Christmas Eve. Act
IL After dinner, the same evening. Act III: Christmas morning.
The vicar's children come home for Christmas, each bringing a severe personal problem. American
premiere of 1948 British play, previously produced in London and on the screen in 1952.
THE ENTERTAINER
Billy Rice Humphrey Davis William Rice Richard M. Davidson
Jean Rice Ellen Tobie Graham Dodd John Curless
Archie Rice Nicol Williamson Conductor David Brunetti
Phoebe Rice Frances Cuka Gorgeous Gladys Elizabeth Owens
Frank Rice Keith Reddin
Understudies: Mr. Williamson — Richard M. Davidson; Misses Cuka, Tobie — Elizabeth Owens;
Messrs. Reddin, Curless — David Brunetti; Mr. Davidson — John Curless.
Directed by William Gaskill; scenery, Michael Sharp; costumes, A. Christina Giannini; lighting,
Barry Arnold; music, John Addison; choreography, David Vaughan; production stage manager,
Patrick J. O'Leary.
Time: 1956. Scene 1: Billy and Jean. Scene 2: Archie Rice — "Don't take him seriously!" Scene 3:
Billy, Jean and Phoebe. Scene 4: Archie Rice — "In trouble again." Scene 5: Billy, Jean, Phoebe and
Archie. Scene 6. Billy, Phoebe, Jean, Archie and Frank. Scene 7: Archie Rice — "Interrupts the
program." Scene 8: Billy, Phoebe Jean, Archie and Frank. Scene 9: Billy, Phoebe, Jean, Archie and
Frank. Scene 10: The good old days again. Scene 11: Jean and Graham — Archie and Bill. Scene 12:
Archie Rice — The one and only.
The Entertainer was first produced on Broadway 2/12/58 for 97 performances and was named a
Best Play of its season. This is its first major New York revival of record.
DUET FOR ONE
Stephanie Abrahams Eva Marie Saint
Dr. Alfred Feldmann Milton Selzer
384 THE BEST PLAYS OF 1982-1983
Directed by Jeffrey Hayden; scenery, Michael Sharp; costumes, Jessica Hahn; lighting, Judy
Rasmuson; sound, Philip Campanella; associate producer, Yale R. Wexler; production stage manager,
Robert Townsend.
Time: The present. Place: Dr. Feldmann's consulting room. The play was presented in two parts.
This play about a psychiatrist and his patient, a cellist whose career has been disrupted by a
crippling disease, was first produced in New York last season on Broadway 12/17/81 for 20 perfor-
HOW HE LIED TO HER HUSBAND
He Michael Butler land. This Shaw one-acter has been often revived
She Jeanne Ruskin in modern times off off Broadway, the last occa-
Her Husband Bernie Mclnerney sion having been by Counterpoint Theater
Time: The 1880s. Place: Ballymore House, Ire- Company 5/6/77.
WINNERS
Man Bernie Mclnerney ners was produced by Lincoln Center on Broad-
Mag Kate Burton way in a program of two one-act plays entitled
Woman Jeanne Ruskin Lovers 7/25/68 for 148 performances and was
Joe Michael Butler named a Best Play of its season. This is its first
Time: 1966. Place: Northern Ireland. Win- major New York revival.
Directed by Nye Heron; scenery, Roger Mooney; costumes, Richard Hieronymous; lighting, Pat
Kelly; sound, Philip Campanella; production stage manager, Kurt Wagemann.
Note: Press date for The Holly and the Ivy was 11/18/82, for The Entertainer was 1/20/83, for
Duet for One was 4/28/83, for Winners and How He Lied to Her Husband was 4/21/83.
a/k/a Tennessee (1). Devised by Maxim Mazumdar; words by Tennessee Williams. Pro-
duced by June Hunt Mayer at the South Street Theater. Opened and closed at the evening
performance, September 26, 1982.
Directed by Albert Takazauckas; design, Peter Harvey; lighting, Mai Sturchio; production stage
manager, William Hare; press, Warren Knowlton. With Maxim Mazumdar, Carrie Nye, J.T.
Walsh.
Self-described as "facts and fictions of Thomas Lanier Williams," a compilation of excerpts from
his writings. Previously produced off off Broadway at Manhattan Theater Club.
The Price of Genius (22). By Betty Neustat. Produced by Bruce Levy in association with
Leslie Steinweiss (Levy/Steinweiss Productions) at the Lambs Theater. Opened September
28, 1982. (Closed October 17, 1982)
Juana Ines de la Cruz Patrizia Norcia Jose Timothy Wahrer
Carlos; Prof Martinez; Manuel Sterling Swann
Cardinal Minelli Fred Velde Father Nunez Jeremy Brooks
Viceroy de Mancera Alfred Karl Bishop Bob Cooper
Dona Leonor de Mancera Rae Kraus Anita Jody Catlin
Eduardo Fred Rivers Abbess Patricia Mertens
Understudies: Miss Norcia — Jody Catlin; Mr. Swann — Timothy Wahrer; Mr. Velde — Fred
Rivers; Mr. Karl — Bob Cooper; Miss Kraus — Patricia Mertens; Mr. Brooks — Fred Velde; Miss
Mertens — Rae Kraus.
Directed by Sande Shurin; scenery, David Potts; costumes, Patricia Adshead; lighting, Richard
Nelson; incidental music, Leslie Steinweiss; production stage manager. Rick Ralston; press, Shirley
Herz Associates, Sam Rudy, Peter Cromarty, Sandra Manley.
Time: 1666 to 1695. Place: Mexico City. The play was presented in two parts.
The life of Sister de la Cruz, 17th century Mexican poet and playwright. Previously produced off
off Broadway at the Interart.
PLAYS PRODUCED OFF BROADWAY 385
Baseball Wives (45). By Grubb Graebner. Produced by Tom E. Greene III at the Harold
Clurman Theater. Opened September 29, 1982. (Closed November 7, 1982)
Janelle Marcella Lowery Becky Lynn Goodwin
Doris Carol Teitel
Understudy: Miss Goodwin — Gigi Benson-Smith.
Directed by Gloria Maddox; scenery and costumes, John Falabella; lighting, Jeff Davis; sound,
Gordon Kupperstein; associate producer, Jessie B. Greene; production stage manager, David
Rubinstein; press, Shirley Herz, Sam Rudy, Peter Cromarty.
Three women of varying ages and temperaments cope with their marriages to baseball superstars,
from the season opener through the World Series. The play was presented in two parts. Previously
produced off off Broadway.
Lennon (25). By Bob Eaton. Produced by Sid Bernstein and Stanley Bernstein in associa-
tion with Abe Margolies and Dennis Paget in the Liverpool Everyman Theater production
at the Entermedia Theater. Opened October 5, 1982. (Closed October 26, 1982)
CAST: Julia, Yoko Ono — Gusti Bogok (tambourine, banjo); Mimi, Cynthia — Katherine Boro-
witz (piano, electric keyboard, synthesizer); Jeff Mohammed, George Harrison, Gerry Marsden, Tony
Palma — Lee Grayson (guitar, drums); Paul McCartney, Tony Tyler, Bertrand Russell — Vincent
Irizarry (guitar, bass, piano, drums); Arthur Ballard, Herr Koschmider, George Martin, Dick Greg-
ory, Elton John, Bob Wooler — John Jellison (piano, guitar, electric keyboard, synthesizer, drums,
bass, banjo).
Also Younger John, Pierre Trudeau, Night Club Manager — David Patrick Kelly (guitar, bass,
harmonica, piano); Older John, Stuart Sutcliffe, Les Chadwick, Brian Epstein — Robert LuPone
(guitar, sax, bass, recorder); Pete Best, Ringo Starr, Harry Nilsson, Tony Barrow, Tim Leary — Greg
Martyn (drums, electric keyboard, tea chest bass); Pete Shotton, Alan Williams, Victor Spinetti,
Arthur Janov, Andy Peebles — Bill Sadler (guitar, drums, piano, washboard).
Standbys: Elizabeth Bayer, Joseph Pecorino, Stuart Warmflash, Mitch Weissman.
Directed by Bob Eaton; musical supervision, Mitch Weissman; scenery, Peter David Gould; cos-
tumes, Deborah Shaw; lighting, Dennis Parichy; sound, Tom Morse; Liverpool set design. Sue
Mayes; Liverpool music design, Chris Monks; production stage manager, Peter B. Mumford; stage
manager, Gary M. Zabinski; press, Judy Jacksina, Glenna Freedman, Diane Tomlinson, Susan
Chicoine, Leslie Anderson.
Play with music about the life and times of John Lennon, the late member of the Beatles. The
play was presented in two parts. A foreign play previously presented in Liverpool and Sheffield,
England.
Anthem for Doomed Youth (6). One-man show written and performed by Michael
Adler. Produced by the Anthem Company in association with Sari Weisman at the Actors'
Playhouse. Opened October 6, 1982. (Closed October 10, 1982)
Directed by Patricia Turner; scenery, Don Gardiner, Lee Mills; lighting, Seth Orbach; production
stage manager, Janet Friedman; press. Bob UUman.
Characterization of the poet Wilfrid Owen (killed in World War I) based on his poems and letters.
The play was presented without intermission.
♦Circle Repertory Company. Schedule of six programs. Angels Fall (65). By Lanford
Wilson. Opened October 17, 1982. (Closed November 28, 1982 and transferred to Broad-
way; see its entry in the Plays Produced on Broadway section of this volume) Black
Angel (25). By Michael Cristofer. Opened December 19, 1982. (Closed January 9, 1983)
What I Did Last Summer (37). By A.R. Gurney Jr. Opened February 6, 1983. (Closed
February 20, 1983) Domestic Issues. (25). By Corinne Jacker. Opened March 13, 1983.
(Closed April 3, 1983) Young Playwrights Festival (24). Program of four one-act plays:
A New Approach to Human Sacrifice by Peter Getty, Fm Tired and I Want to Go to
386 THE BEST PLAYS OF 1982-1983
Bed by David Torbett, Third Street by Richard Colman and The Birthday Present by
Charlie Schulman. Opened April 13, 1983; co-produced by the Foundation of the Drama-
tists Guild. (Closed May 1, 1983). *Fool for Love (7). By Sam Shepard, in the Magic
Theater of San Francisco production. Opened May 26, 1983. Produced by Circle Rep-
ertory, Marshall W. Mason artistic director, Richard Frankel managing director, B.
Rodney Marriott acting artistic director, at the Circle Theater.
ANGELS FALL
Niles Harris Fritz Weaver Marion Clay Tanya Berezin
Vita Harris Nancy Snyder Salvatore (Zappy) Zappala . . . Brian Tarantina
Don Tabaha Danton Stone Father William Doherty Barnard Hughes
Directed by Marshall W. Mason; scenery, John Lee Beatty; costumes, Jennifer Von Mayr-
hauser; lighting, Dennis Parichy; original music, Norman L. Berman; sound. Chuck London
Media/Stewart Werner; production stage manager, Fred Reinglas; press, Richard Frankel, Reva
Cooper.
Time: A late Saturday afternoon in June. Place: A mission in northwest New Mexico. The play
was presented in two parts.
Character studies of six individuals confined in a group by a nearby nuclear accident. Previously
produced in Miami, Westport and Saratoga.
A Best Play; see page 153.
BLACK ANGEL
Martin Engel Josef Sommer Jimmie Ray Weeks; Bob Hawkins, M.P., 3d
Simone Engel Mary McDonnell Hooded Man — Robert LuPone; M.P., 2d
Claude Burke Pearson Hooded Man — Lou Liberatore; Hooded Men —
Louis Puget Tom Aldredge Evan A. Georges, Wilham Snovell, Randell
August Moreault Jonathan Bolt Spence.
Also Andy Raines, M.P., 1st Hooded Man —
Directed by Gordon Davidson; scenery and costumes, Sally Jacobs; lighting, John Gleason; sound.
Chuck London Media/Stewart Werner; production stage manager, Jody Boese.
Study of degrees of guilt, as a Nazi war criminal returns to the scene of his crimes. The play was
presented in two parts. Previously produced at the Mark Taper Forum, Los Angeles.
WHAT I DID LAST SUMMER
Elsie Christine Estabrook Grace Debra Mooney
Charlie Ben Siegler Bonny Ann McDonough
Ted Robert Joy Anna Trumbull Julie Bovasso
Directed by Joan Micklin Silver; scenery, John Lee Beatty; costumes, Jennifer Von Mayr-
hauser; lighting Craig Miller; sound. Chuck London Media/Stewart Werner; production stage man-
ager, Suzanne Fry.
Time: Summer 1945. Place: A summer "colony" on the Canadian shore of Lake Erie, near Buffalo,
N.Y. The play was presented in two parts.
Talented 14-year-old boy trying to outgrow his spiritually confining WASP blackground.
Bruce McCarty replaced Robert Joy 2/15/83.
DOMESTIC ISSUES
Susan Porter .... Joyce Reehling Christopher Nancy Graham Glynnis O'Connor
Larry Porter Robert Stattel George Allison James Pickens Jr.
Stephen Porter Michael Ayr Ellen Porter Caroline Kava
Directed by Eve Merriam; scenery, David Potts; costumes, Joan E. Weiss; lighting, Dennis Pa-
richy; sound, Chuck London Media/Stewart Werner; production stage manager, Jody Boese.
PLAYS PRODUCED OFF BROADWAY 387
Time: September, this year. Place: Larry Porter's house in a Chicago suburb. Act L Early Friday
evening. Act IF Several hours later.
1960s radical in the mainstream of today. Previously produced at Yale Rej)ertory Theater.
YOUNG PLAYWRIGHTS FESTIVAL
A New Approach to Human Sacrifice present. Act II: Wallace's apartment, 20 years
by Peter Getty, age 17 later. Farce, the world's last fertile male must
Mrs. Wall Deborah Rush save the human race.
Michael Christopher Durang
Mr. Wall Edward Power
Susan Blanche Baker
Alvin Greg Germann barrator . T Novella Nelson
Fm Tired and I Want to Go to Bed
by David Torbett, age 18
Bobby Brendan Murphy jg^ome Greg Germann
Directed by Garland Wright; dramaturg. Mother Jean DeBaer
Wendy Wasserstein. Place, the Wall household. Father Edward Power
A suburban family behaving in the manner of a Directed by Gerald Chapman; dramaturg, Mi-
TV household, with some distinctly unsavory ^^ael Weller. Place: Jerome Williams's house.
practises. Problem adolescent fails in school but succeeds
The Birthday Present '" ^^"t^^>' babbling in devil-worship,
by Charlie Schulman, age 17
Wallace Christopher Durang Third Street
Mary Jean DeBaer by Richard Colman, age 17
Sheila Deborah Rush Ren Keith Gordon
Henry Bill Moor John Robert Alan Morrow
Hopp Burke Pearson Frank Brian Tarantina
Lucy Kim Beaty Directed by Michael Bennett; dramaturg, Mi-
Newscaster Novella Nelson chael Weller. Place: a graveyard in Brooklyn.
Joe Flanagan Edward Power Three high school friends destined to be sepa-
TV Host Brian Tarantina rated by their needs and ambitions, cope with the
Directed by John Ferraro; dramaturg, A.R. impending breakup of their long and cherished
Gumey Jr. Act I: The Coopers' hving room, the friendship.
ALL PLAYS: Scenery , John Amone; costumes, Patricia McGourty; lighting, Mai Sturchio; sound.
Chuck London Media/Stewart Werner; original music for The Birthday Present. Richard Wein-
stock; Festival artistic director, Gerald Chapman; Festival managing director, Peggy Hansen; produc-
tion supervisor, B. Rodney Marriott; production stage manager, Kate Stewart; stage manager, Su-
zanne Fry.
These four plays by young people (ages given above at the time of submission of scripts) were
selected from hundreds of entries in the Foundation of the Dramatist Guild's Second Annual Young
Playwrights Festival for this off-Broadway production under the aegis of Circle Repertory Com-
pany. In addition to these full productions, the Festival included staged readings of Scraps by Tagore
Joseph Mclntyre (age 10), Teens Today by Arthur W. French III (age 17) and Weltschmerz by
Michael Aschner (age 18).
FOOL FOR LOVE
May Kathy Baker Martin Dennis Ludlow
Eddie Ed Harris Old Man Will Marchetti
Directed by Sam Shepard; scenery, Andy Stacklin; costumes, Ardyss L. Golden; lighting, Kurt
Landisman, supervised by Mai Sturchio; sound, J. A. Deane; associate director, Julie Hebert; produc-
tion stage manager, Suzanne Fry.
Battle of the sexes in a Mojave Desert motel room. The play was presented without intermission.
♦True West (258). Revival of the play by Sam Shepard. Produced by Harold Thau and
Wayne Adams in association with Robeil Courson, Jay J. Miller and Richard Sturgis at
the Cherry Lane Theater. Opened October 17, 1982.
388 THE BEST PLAYS OF 1982-1983
Lee John Malkovich Saul Kimmer . Sam Schacht
Austin Gary Sinise Mom Margaret Thomson
Understudies: Miss Thomson — Joan Kendall; Messrs. Malkovich, Sinise, Schacht — Bruce Lyons.
Directed by Gary Sinise; scenery, Kevin Rigdon, Deb Gohr; lighting, Kevin Rigdon; production
stage manager, Larry Bussard; press, Judy Jacksina, Glenna Freedman, Diane Tomlinson, Susan
Chicoine, Leslie Anderson.
Time: The present. Place: A Southern California suburb. The play was presented in two parts.
Love-hate relationship between two brothers, one a screen writer and one a drifter. Previously
produced oflF Broadway by New York Shakespeare Festival Public Theater 12/23/80 for 24 perfor-
mances, in a production which was repudiated by its author (who acknowledges this new version of
the same script).
Dan Butler replaced Gary Sinise, Wayne Adams replaced Sam Schacht and Mary Copple replaced
Margaret Thomson 4/17/83; Bruce Lyons replaced John Malkovich 4/26/83.
♦Greater Tuna (273). By Jaston Williams, Joe Sears and Ed Howard. Produced by Karl
Allison in association with Bryan Bantry at the Circle in the Square Downtown. Opened
October 21, 1982.
CAST: Joe Sears, Jaston Williams. Understudy — Trip Plymale.
Directed by Ed Howard; scenery, Kevin Rupnik; costumes, Linda Fisher; lighting, Judy Ras-
muson; associate producer, Salisbury Productions, Ltd.; production stage manager, Marjorie
Home; press, Henry Luhrman, Terry M. Lilly, Kevin P. McAnarney.
Time: One late-summer day. Place: Tuna, Texas's third-smallest town. Act I, Scene 1: Morning
news. Radio Station OKKK. Scene 2: Breakfast. Scene 3: The interview. Scene 4: Pet-of-the-week.
Scene 5: Leonard on the line. Scene 6: The bitter pill. Act II, Scene 1: The funeral parlor. Scene 2:
The midday report. Scene 3: The smut snatchers of the new order. Scene 4: The interrogation. Scene
5: Evening prayers. Scene 6: Sign off.
Life in a small Texas town among 20 characters played by two actors, as follows: Thurston Wheelis,
Bertha Bumiller, Leonard Childers, Elmer Watkins, Aunt Pearl Burras, R.R. Suavely, Rev. Spikes,
Sheriff Givens, Hank Bumiller, Yippy — Joe Sears; Aries Struvie, Harold Dean Lattimer, Petey Fisk,
Little Jody Bumiller, Stanley Bumiller, Charlene Bumiller, Chad Hartford, Phinas Blye, Vera Carp,
Didi Snavely — Jaston Williams. Previously produced in Texas at Houston, Austin and San Antonio
and in Atlanta and Hartford, Conn.
*New York Shakespeare Festival. Schedule of six programs; see note. Plenty (45). By
David Hare. Opened October 21, 1982. (Closed November 28, 1982 and transferred to
Broadway; see its entry in the Plays Produced on Broadway section of this volume)
Hamlet (37). Revival of the play by William Shakespeare. Opened December 2, 1982.
(Closed January 16, 1983) Top Girls (129). By Caryl Churchill. Opened December 29,
1982. (Closed January 30, 1983 after 40 performances) Reopened March 15, 1983; see
note. (Closed May 29, 1983) Buried Inside Extra (31). By Thomas Babe. Opened May
4, 1983. (Closed May 29, 1983) *Fen (9). By Caryl Churchill. Opened May 24, 1983.
♦Egyptology: My Head Was a Sledgehammer (17). Text and scoring by Richard
Foreman. Opened May 17, 1983. Produced by New York Shakespeare Festival (Top
Girls in the Royal Court Theater production, Fen in the Joint Stock Theater Group
production), Joseph Papp producer, at the Public Theater.
ALL PLAYS: Production supervisor, Jason Steven Cohen; press. Merle Debuskey, John Howl-
ett, Richard Komberg, Bruce Campbell.
PLENTY
Alice Park Ellen Parker Codename Lazar Kelsey Grammer
Susan Traherne Kate Nelligan Frenchman #1 Ken Meseroll
Raymond Brock Edward Herrmann Leonard Darwin George Martin
/
AT NEW YORK SHAKESPEARE FESTIVAL PUBLIC THEATER— ^6ove, in fore-
ground, Kathryn Grody, Lise Hilboldt and Linda Hunt and, in background, Freda Foh
Shen and Sara Botsford in the American cast of Caryl Churchill's Top Girls; below, Sandy
Dennis, Hal Holbrook, William Converse-Roberts, Dixie Carter and Vincent Gardenia in
a scene from Thomas Babe's Buried Inside Extra
390 THE BEST PLAYS OF 1982-1983
Mick Daniel Gerroll Dorcas Frey Madeleine Potter
Louise Johann Carlo John Begley Stephen Mellor
M. Aung Conrad Yama Sir Andrew Charleson Bill Moor
Mme. Aung Ginny Yang Frenchman #2 Dominic Chianese
Understudies: Messrs. Grammer, Gerroll — Stephen Mellor; Mr. Yama — Victor Wong; Miss Yang
— Freda Foh Shen; Miss Nelligan — Randy Dawson; Misses Parker, Carlo, Potter — Elizabeth
Norment; Messrs. Martin, Moor, Chianese — Tom Klunis.
Directed by David Hare; scenery, John Gunter; costumes, Jane Greenwood; lighting, Arden
Fingerhut; incidental music, Nick Bicat; production stage manager, Michael Chambers; stage man-
ager, Anne King.
Act I, Scene 1: Knightsbridge, Easter 1962. Scene 2: St. Benoit, November 1943. Scene 3: Brussels,
June 1947. Scene 4: Pimlico, September 1947. Scene 5: Festival of Britain, May 1951. Scene 6: Pimlico,
December 1952. Scene 7: Knightsbridge, October 1956.
Act II, Scene 8: Knightsbridge, July 1961. Scene 9: Whitehall, January 1962. Scene 10: Knights-
bridge, the day before Easter 1962. Scene 11: Blackpool, June 1962. Scene 12: St. Benoit, August 1944.
From World War II to the 1960s, an Englishwoman's disillusionment and emotional decline is a
metaphor of the values and moods of her country. A foreign play previously produced at the National
Theater, London, and in Chicago.
A Best Play; see page 173.
HAMLET
Bernardo; Fortinbras Jamey Sheridan Hamlet Diane Venora
Francisco; Cornelius . . . Stephen McNaughton Ophelia Pippa Pearthree
Marcellus; Hecuba Speech; Luciano; Reynaldo; Player Queen;
English Ambassador J.T. Walsh Apprentice Gravedigger. . . . Raphael Sbarge
Horatio James Cromwell Rosencrantz Rick Lieberman
Ghost; Player King George Hamlin Guildenstern Ralph Byers
Claudius Bob Gunton Norwegian Captain Brett Porter
Gertrude Kathleen Widdoes Switzer;
Voltemand; Priest Ric Lavin Messenger Jimmy Smits, Brian Delate
Laertes Robert Westenberg Osric Rocco Sisto
Polonius; Old Gravedigger George Hall Lady in Waiting; Player Annette Heide
Directed by Joseph Papp; scenery, Robert Yodice; costumes, Theoni V. Aldredge; lighting, Ralph
K. Holmes; music, Allen Shawn; fight sequences, B.H. Barry; stage managers, Fredric Orner, Jane
Hubbard.
A virtually uncut Hamlet with an actress in the title role. The play was presented in two parts.
Hamlet was last produced off Broadway by Circle Repertory 12/12/79 for 37 performances.
TOP GIRLS
Marlene Gwen Taylor Dull Gret; Angie Carole Hayman
Waitress; Kit; Shona Lou Wakefield Pope Joan; Louise Selina Cadell
Isabelle Bird; Joyce; Patient Griselda; Nell;
Mrs. Kidd Deborah Findlay Jeanine Lesley Manville
Lady Nijo; Win Lindsay Duncan
Directed by Max Stafford-Clark; scenery, Peter Hartwell; costumes, Pam Tait; lighting, Robin
Myerscough-Walker; production stage manager, Julie Davies; stage manager, Susan Green.
Act I, Scene 1: A restaurant. Scene 2: Top Girls Employment Agency, London. Scene 3: Joyce's
back yard in Suffolk. Act II, Scene I: Top Girls Employment Agency. Scene 2: A year earlier, Joyce's
Kitchen.
In scrambled time sequence, a businesswoman's rise to the top, plus her metaphorical relationship
with prominent women of the historical past. A foreign play previously produced in London.
Note: The above-listed British cast ended a limited 40-performance engagement 1/30/83, after
which the following American cast prepared to resume performances (with a few of the character
names changed), reopening 3/15/83 for 89 additional performances:
PLAYS PRODUCED OFF BROADWAY 391
Marlene Lise Hilboldt Dull Gret; Angie Kathryn Grody
Waitress; Jeanine; Win Donna Bullock Pope Joan; Louise Linda Hunt
Isabella Bird; Joyce; Nell Sara Botsford Patient Griselda; Kit;
Lady Nijo; Mrs. Kidd Freda Foh Shen Shona Valerie Mahaffey
Understudies: Misses Grody, Hunt — Elaine Hausman; Misses Mahaffey, Bullock — Sherie Berk;
Misses Hilboldt, Shen— Fredi Olster; Miss Botsford— Dale Hodges.
Polly Draper replaced Lise Hilboldt 4/26/83.
BURIED INSIDE EXTRA
Jake L. Bowsky Hal Holbrook Don Kane William Converse-Roberts
Liz Conlon Dixie Carter Sophia Bowsky Sandy Dennis
Wild Bob Culhane Vincent Gardenia
Understudies: Misses Carter, Dennis — Linda Selman; Messrs. Holbrook, Gardenia — William H.
Andrews.
Directed by Joseph Papp; scenery, Mike Boak; costumes, Theoni V. Aldredge; lighting, Ralph K.
Holmes; stage managers, Susan Green, Stephen McCorkle.
Comedy, a bomb threat adds to the problems of a group of graveyard-shift employees of a dying
newspaper. The play was presented in two parts and was transferred to London's Royal Court
Theater 6/13/83 for six weeks in exchange for their production of Top Girls.
FEN
CAST: Boy Scaring Crows, Angela, Deb, Mrs. Finch — Amelda Brown; Japanese Businessman,
Nell, May, Mavis — Cecily Hobbs; Wilson, Frank, Mr. Tewson, Geoffrey — Bernard Strother; Shirley,
Shona, Miss Cade, Margaret — Linda Bassett; Val, Woman Working in the Fields — Jennie
Stoller; Mrs. Hassett, Becky, Alice, Ivy — Tricia Kelly.
Directed by Les Waters; design, Annie Smart; lighting, Tom Donellan; original music, Ilona
Sekacz; stage manager, Ginny Martino.
Rural folk as socioeconomic underdogs in Fen country of England. A foreign play previously
produced in London in this production by the Joint Stock Theater Group. The play was presented
without intermission.
EGYPTOLOGY: MY HEAD WAS A SLEDGEHAMMER
CAST: Seth Allen, Raymond Barry, Gretel Cummings, William Duff-Griflfin, Cynthia Gillette,
Kate Manheim, Frank Maraden, George McGrath, Christine Morris, Lola Pashalinski.
Directed by Richard Foreman; scenery, Richard Foreman, Nancy Winters; lighting, Spencer
Mosse; costumes, Patricia McGourty; sound, Daniel M. Schreier; production stage manager, Michael
Chambers; stage manager, Anne Marie Hobson.
Another of the Foreman Ontological-Hysteric Theater productions, a series of nightmarishly
comic, melodramatic and musical impressions with overtones of social comment on various interna-
tional cultures. The play was presented without intermission.
Note: In Joseph Papp's Public Theater there are many auditoria. Plenty, Top Girls played the
Estelle R. Newman Theater, Hamlet played the Anspacher Theater, Buried Inside Extra played
Martinson Hall, Fen played LuEsther Hall, Egyptology played The Other Stage.
Note: New York Shakespeare Festival also produced a number of off-off-Broadway programs this
season; see their entries in the Plays Produced Off Off Broadway section of this volume.
American Place Theater. Schedule of two programs. Do Lord Remember Me (127). By
James DeJongh. Opened October 24, 1982. (Closed February 26, 1983; see note)
Buck (5). By Ronald Ribman. Co-produced by Playwrights Horizons, Andre Bishop
artistic director, Paul Daniels managing director. Opened March 10, 1983. (Closed March
392 THE BEST PLAYS OF 1982-1983
13, 1983) Produced by The American Place Theater, Wynn Handman director, Julia Miles
associate director, at the American Place Theater.
DO LORD REMEMBER ME
CAST: Frances Foster, Ebony Jo-Ann, Lou Myers, Charles H. Patterson, Glynn Turman.
Directed by Regge Life; scenery, Julie Taymor; costumes, Judy Dearing; lighting, Sandra L.
Ross; production stage manager, Nancy Harrington; stage manager, Dwight R.B. Cook; press, Jeffrey
Richards Associates, Robert Ganshaw.
Firsthand memories of slavery recorded in the 1930s, previously presented as a Federal Theater
project in 1936 and a New Federal Theater production off off Broadway in 1978, and revised for this
production, presented without intermission.
Note: Do Lord Remember Me closed 1/23/83 at American Place after 97 performances and
reopened 1/29/83 at Town Hall, where it played 30 additional performances.
BUCK
Buck Halloran Alan Rosenberg Joy Priscilla Lopez
Charlie Corvanni Robert Silver Salesman Michael Lipton
Mr. Lollipop; Mr. Heegan Richard Leighton
Milton Berman Bernie Passeltiner Vendor; Vincente Jimmy Smits
Mr. Hawaiian Shirt; Mr. Goglas Ted Sod Woman With Hat;
Prof. Pipe in the Mouth Jack Davidson Mme. Madeleine Madeleine Le Roux
Fred Milly Morgan Freeman Mr. Nathan Joseph Leon
Stagehands: Mitchell Gossett, Nick lacovino, Charles Kindl, Michael Linden, Kenneth Lodge,
Richard Mandel, Michael O'Boyll, Jason O'Malley, David Sennett.
Directed by Elinor Renfield; scenery, John Arnone; costumes, David C. Woolard; lighting, Frances
Aronson; sound, Paul Garrity; fight, Robert Aberdeen; production stage manager, Jay Adler; press,
Jeffrey Richards Associates, Robert Ganshaw.
Cable TV seen as an exploiter of brutality and other sensationalism. The play was presented in two
parts.
Edmond (77). By David Mamet. Produced by the Goodman Theater, the Provincetown
Playhouse, David Jiranek, L Michael Kasser, Marjorie Oberlander, J. P. PavanelU,
Ltd. and David Weil at the Provincetown Playhouse. Opened October 27, 1982. (Closed
January 2, 1983)
CAST: Mission Preacher, Prisoner — Paul Butler; Manager, Leafleteer, Customer, Policeman,
Guard — Rick Cluchey; B-Girl, Whore — Joyce Hazard; Peep Show Girl, Glenna — Laura Innes; Man
in a Bar, Hotel Clerk, Man in Back, Chaplain — Bruce Jarchow; Edmond's Wife — Linda Kim-
brough.
Also Fortuneteller, Manager, Woman in the Subway — Marge Kotlisky; Cardsharp, Guard — Jose
Santana; Shill, Pimp — Lionel Mark Smith; Edmond — Colin Stinton; Bartender, Bystander, Pawn-
shop Owner, Interrogator — Jack Wallace.
Directed by Gregory Mosher; scenery, Bill Bartelt; costumes, Marsha Kowal; lighting, Kevin
Rigdon; fight choreographer David Woolley; associate producer, Margot Harley; stage manager, Ken
Porter; press, Shirley Herz Associates, Sam Rudy, Peter Cromarty, Sandra Manley.
Place: New York City. The play was presented without intermission.
Middle class New Yorker explores the under side of the the city. Previously produced at the
Goodman Theater, Chicago.
Patti LuPone replaced Linda Kimbrough 11/12/82.
Some Men Need Help (53). By John Ford Noonan. Produced by Frank Gero, Mark
Gero and Chris Gero in association with Jane Holzer at the 47th Street Theater. Opened
October 28, 1982. (Closed December 12, 1982)
PLAYS PRODUCED OFF BROADWAY 393
Hudley T. Singleton III Treat Williams
Gaetano Altobelli Philip Bosco
Directed by John Ferraro; scenery, Eugene Lee; costumes, Shay Cunliffe; lighting, Gregory C.
MacPherson; original music, Richard Weinstock; fights, B.H. Barry; production stage manager, Louis
D. Pietig; press, Shirley Herz Associates, Sam Rudy, Peter Cromarty.
Place: 77 Huckleberry Drive, Roman Hills, Fairfield County, Conn. Act I, Scene 1: Late September,
Monday morning just after 9 a.m. Scene 2: Tuesday, 9 a.m. Scene 3: Wednesday, 10:30 a.m. Act II.
Scene 1: Almost three months later, the week between Christmas and New Year's, Thursday, 2 p.m.
Scene 2: Friday, just before 9 a.m. Scene 3: Early afternoon a few days later, just after the first of
the year.
The friendship of two men in their fight against alcoholism.
*Upstairs at O'Neals' (286). Cabaret revue conceived by Martin Charnin. Produced by
Martin Charnin, Michael O'Neal, Patrick O'Neal and Ture Tufvesson at O'Neals'. Opened
October 29, 1982.
Douglas Bernstein Michon Peacock
Randall Edwards Richard Ryder
Bebe Neuwirth Sarah Weeks
Pianos: David Krane, Paul Ford.
Understudies: Kathryn McAteer, Neal Klein.
Directed by Martin Charnin; choreographer, Ed Love; musical direction and arrangements, David
Krane; scenery and lighting, Ray Recht; costumes, Zoran; production stage manager, Edward R.
Isser; stage manager, Neal Klein; press, Patt Dale Associates, Jim Baldassare.
Mixed bag of subjects exposed to musical satire, presented without intermission.
MUSICAL NUMBERS: Overture; "Upstairs at O'Neals' " (music and lyrics by Martin Charnin)
— Ensemble; "Stools" (music and lyrics by Martin Charnin) — Douglas Bernstein, Richard Ryder;
"Cancun" (music and lyrics by Michael Leeds and John Forster) — Ryder; "Something" (music and
lyrics by Douglas Bernstein and Denis Markell) — Bernstein; "I Furnished My One Room Apart-
ment" (music by Stephen Hoffman, lyrics by Michael Mooney) — Sarah Weeks; "Little H and Little
G" (music and lyrics by Ronald Melrose) — Ensemble; "The Ballad of Cy and Beatrice" (music by
Paul Trueblood, lyrics by Jim Morgan) — Randall Edwards; "Signed, Peeled, Delivered" (music and
lyrics by Ronald Melrose) — Ensemble, Ryder.
Also "The Feet" (music by Seth Friedman, lyrics by David L. Crane, Seth Friedman and Marta
Kauffman) — Ensemble; "The Soldier and the Washerworker" (music and lyrics by Ronald Melrose)
— Bebe Neuwirth; Table D'Hote (by Archie T. Tridmorten) — Bernstein, Ryder, Edwards; "Soap
Operetta" (music by Seth Friedman, words by David L. Crane, Seth Friedman and Marta Kauffman)
— Ensemble; "Talkin' Morosco Blues" (lyrics by Murray Horwitz, guitar accompaniment by Willie
Nininger) — Ryder; "Mommas' Turn" (music and lyrics by Douglas Bernstein and Denis Markell)
— Ladies; We'll Be Back Right After This Message (by Douglas Bernstein and Denis Markell) —
Neuwirth, Edwards, Bernstein; "All I Can Do Is Cry" (music and lyrics by Sarah Weeks and Michael
Abbott) — Weeks; "Cover Girls" (music by Seth Friedman, lyrics by David L. Crane, Seth Friedman
and Marta Kauffman) — Michon Peacock, Neuwirth, Edwards, Bernstein; "Boy, Do We Need It
Now" (music and lyrics by Charles Strouse) — Peacock, Ensemble; "Finale" — Company.
Carole Schweid replaced Michon Peacock 12/27/82.
Classic Stage Company (CSC). Repertory of five programs (also see note). (214) Faust Part
One and Faust Part Two. By Johann Wolfgang von Goethe; adapted from the translation
by Philip Wayne. Opened October 31, 1982 (Part One at the matinee, Part Two at the
evening performance). Wild Oats. Revival of the play by John O'Keeffe. Opened January
9, 1983. Balloon. By Karen Sunde. Opened February 13, 1983. Danton's Death. By George
Buechner; English version by Christopher Martin. Opened March 27, 1983. Produced by
Classic Stage Company, Christopher Martin artistic director, Dan J. Martin managing
director, at CSC Repertory. (Repertory closed May 8, 1983)
394 THE BEST PLAYS OF 1982-1983
ALL PLAYS: Directed by Christopher Martin (Ghost Sonata and Balloon co-directed by Karen
Sunde); scenery, Christopher Martin; costumes, Miriam Nieves; Hghting, Rick Butler; dramaturg,
Karen Sunde; stage manager, Christine Michael; press, Krista M. Altok, Will M. Weiss.
FAUST PART ONE
Prologue
Director Christopher Martin
Poet Gary Sloan
Actor Tom Spackman
Mephisto Noble Shropshire
The Lord Walter Williamson
1. Night
Faust Christopher Martin
Mephisto Noble Shropshire
Earth Spirit Tom Spackman
Wagner Tom Spiller
Old Man Thomas Lenz
Girl Ginger Grace
Student Barry Mulholland
Peasants: Brenda Lynn Bynum, Dennis La
Valle, Christy Lowery, Bill Nickerson, Diane
Rieck, Van Santvoord, Rivka Szatmary, Pam
Welch.
2. Beer Hall
Faust Christopher Martin
Mephisto Noble Shropshire
Frosch Thomas Lenz
Brander Walter Williamson
Altmayer Tom Spiller
Siebel Howard Lucas
3. Witch's Kitchen
Faust Christopher Martin
Mephisto Noble Shropshire
He-Ape Tom Spackman
She- Ape Amy Warner
Witch Mary Eileen O'Donnell
Faust Gary Sloan
Apes: Bill Nickerson, Van Santvoord, Rivka
Szatmary.
4. Gretchen
Faust Gary Sloan
Mephisto Noble Shropshire
Gretchen Ginger Grace
Martha Mary Eileen O'Donnell
Lizabeth Amy Warner
Valentine Barry Mulholland
Soldiers Bill Nickerson, Van Santvoord
Citizens: Dennis La Valle, Thomas Lenz,
Christy Lowery, Howard Lucas, Tom Spiller,
Rivka Szatmary, Pam Welch, Walter William-
son
5. Walpurgisnacht
Faust Gary Sloan
Mephisto Noble Shropshire
Will-o-Wisp Tom Spackman
General Tom Spiller
Minister Barry Mulholland
Author Howard Lucas
Huckster Witch Thomas Lenz
Lilith Amy Warner
Old Witch Mary Eileen O'Donnell
Critic Walter Williamson
Witches: Brenda Lynn Bynum, Christy
Lowery, Diane Rieck, Rivka Szatmary, Pam
Welch. Warlocks: Dennis La Valle, Bill Nick-
erson, Van Santvoord.
6: Dungeon
Faust Gary Sloan
Mephisto Noble Shropshire
Gretchen Ginger Grace
Epilogue
Faust Gary Sloan
Ariel Tom Spackman
The play was presented in two parts with the
intermission following Scene 3.
FAUST PART TWO
Prologue
Faust Tom Spackman
Ariel Gary Sloan
1. Masquerade
Faust; Plutus Tom Spackman
Mephisto; Greed Noble Shropshire
Emperor Howard Lucas
Archbishop Walter Williamson
Commander Tom Spiller
Treasurer Barry Mulholland
Chamberlain Thomas Lenz
Poetry Gary Sloan
1st Woman Ginger Grace
2d Woman Brenda Lynn Bynum
3d Woman Mary Eileen O'Donnell
Paris Dennis La Valle
Helen Amy Warner
Workmen: Dennis La Valle, Bill Nickerson,
Van Santvoord.
2: Classical Walpurgisnacht
Faust Tom Spackman
Mephisto Noble Shropshire
1st Pedant Thomas Lenz
2d Pedant Van Santvoord
3d Pedant Bill Nickerson
Student; Chiron Barry Mulholland
Wagner; Thales Tom Spiller
Homunculus Gary Sloan
PLAYS PRODUCED OFF BROADWAY
395
Erichto; Empusa. . . . Mary Eileen O'Donnell
Sphinx Amy Warner
Manto Ginger Grace
Nereus Howard Lucas
Proteus . . Walter Williamson, Thomas Lenz
Lamiae: Christy Lowery, Rivka Szatmary,
Pam Welch. Porkyads: Mary Eileen O'Don-
nell, Ginger Grace, Thomas Lenz.
3. Helen
Helen Amy Warner
Chorus Leader Mary Eileen O'Donnell
Porkyas Noble Shropshire
Faust Tom Spackman
Watchman Tom Spiller
Knights Bill Nickerson, Van Santvoord
Euphorion Gary Sloan
Chorus: Brenda Lynn Bynum, Ginger
Grace, Christy Lowery, Diane Rieck, Rivka
Szatmary, Pam Welch.
4. War Games
Faust Tom Spackman
Mephisto Noble Shropshire
Emperor Howard Lucas
Commander Tom Spiller
1st Aide Barry Mulholland
2d Aide Thomas Lenz
Archbishop Walter Williamson
Maneuvers: Dennis La Valle, Bill Nicker-
son, Van Santvoord.
5. Under the Lindens
Wanderer Christopher Martin
Baucis Ginger Grace
Philemon Gary Sloan
6. Utopia
Faust Christopher Martin
Mephisto Noble Shropshire
Watchman Tom Spiller
Want Thomas Lenz
Guilt Howard Lucas
Need Mary Eileen O'Donnell
Care Amy Warner
Lemures: Thomas Lenz, Barry Mulholland,
Tom Spiller.
Epilogue
Mephisto Noble Shropshire
Gretchen Ginger Grace
The Lord Walter Williamson
Faust: Tom Spackman, Gary Sloan, Christo-
pher Martin. Angels: Dennis La Valle, Howard
Lucas, Bill Nickerson, Van Santvoord. Penitents:
Christy Lowery, Mary Eileen O'Donnell, Rivka
Szatmary, Amy Warner, Pam Welch.
The play was presented in two parts with the
intermission following Scene 2.
BOTH PLAYS: Wedekind lieder sung by Helmut Lohner; associate director, Karen Sunde; songs,
Frank Wedekind.
WILD OATS
John Dory Tom Spiller
Sir George Thunder Barry Mulholland
Ephraim Smooth Noble Shropshire
Lady Amaranth Amy Warner
Muz; 1st Ruffian Van Santvoord
Harry Thunder Tom Spackman
Jack Rover Gary Sloan
Farmer Gammon Walter Williamson
Sim Thomas Lenz
Jane Ginger Grace
Banks Howard Lucas
Twitch Bill Nickerson
Landlord; 3d Ruffian Robert Quinn
Lamp Donn Youngstrom
Trap; 2d Ruffian Dennis La Valle
Amelia Mary Eileen O'Donnell
Brats: Brenda Lynn Bynum, Christy Lowery, Diane Rieck, Rivka Szatmary, Pam Welch. Locals:
Dennis La Valle, Bill Nickerson, Robert Quinn, Van Santvoord, Donn Youngstrom.
Stage manager, Christine Michael.
The play was presented in two parts. Wild Oats was last produced off Broadway in CSC rep-
ertory 1/7/79.
BALLOON
Helvetius Mary Eileen O'Donnell
Morellet Barry Mulholland
Roche Howard Lucas
Turgot Walter Williamson
Cabanis Gary Sloan
Franklin Christopher Martin
Pantomime Roles: Polly Stevenson, Miss Howe — Helvetius; Admiral Howe, Beaumarchais — Mo-
rellet; Montaudoin — Roche; Wedderburn, Chaumont — Turgot; William Franklin, Louis XVI — Ca-
banis.
Original music, Noble Shropshire, Robert Bums; stage manager, Thomas Lenz.
Time: About 1783. Place: The salon of Madame Helvetius.
396 THE BEST PLAYS OF 1982-1983
A Paris salon the evening Benjamin Franklin decides to return to the U.S. (with flashbacks to some
of the important events in his life).
DANTON'S DEATH
Georges Danton Tom Spiller 3d Citizen; Young Gentleman;
Camille Desmoulins Tom Spackman LaFlotte Dennis La Valle
Lacroix Barry MulhoUand Robespierre Noble Shropshire
Herault-Sechelles Gary Sloan St. Just Howard Lucas
Julie Danton Diane Riek Collot Walter Williamson
Lucile Desmoulins Ginger Grace Couthon; Man From Lyons;
Legendre; Fouquier-Tinville; Executioner Donn Youngstrom
Beggar; Executioner Thomas Lenz Marion Amy Warner
Simon Van Santvoord Rosalie Pam Welch
Simon's Wife; Adelaide Rivka Szatmary
Ballad Singer Mary Eileen O'Donnell Card Lady; Mother Brenda Lynn Bynum
1st Citizen; Soldier; Card Lady; Young Lady .... Patricia Fletcher
Chaumette Robert Quinn Paine Christopher Martin
2d Citizen; Gen. Dillon Bill Nickerson
Original music, Noble Shropshire.
Danton's Death, sl 19th century German play, was produced on Broadway by the Mercury
Theater 1 1/2/38 for 21 performances and by the Repertory Theater of Lincoln Center 10/21/65 for
46 performances.
Note: The Classic Stage Company season also included the running repertory production of Ghost
Sonata, revival of the play by August Strindberg, English version by Christopher Martin, entering
the repertory 11/12/82, with a cast consisting of Noble Shropshire, Tom Spackman, Amy
Warner, Mary Eileen O'Donnell, Walter Williamson, Ginger Grace, Barry MulhoUand, Howard
Lucas, Tom Spiller, Brenda Lynn Bynum and Donn Youngstrom (see its entry in the Plays Produced
Off Broadway section of The Best Plays of 1981-82).
Two Fish in the Sky (16). By Michael Hastings. Produced by The Phoenix Theater, T.
Edward Hambleton managing director, Steven Robman artistic director, Harold So-
gard general manager at the Theater at Saint Peter's Church. Opened October 31, 1982;
see note. (Closed November 14, 1982)
Raymond Borrall Gavin Reed Irene Connor Laura Esterman
Meadowlark Rachel Warner . . . Cleavon Little Edna Walter Lorraine Toussaint
Gerald Radinski Christopher Murney Elliott Brucknell Michael Tucker
Directed by Steven Robman; scenery, Wynn P. Thomas; costumes, Robert Wojewodski; lighting,
Arden Fingerhut; sound, David Rapkin; dialect consultant, Timothy Monich; production stage
manager, Loretta Robertson; press, Susan L. Schulman, Keith Sherman.
Time: The present. Place: The Brixton section of London and Gatwick Airport. The play was
presented in two parts.
A resourceful Jamaican vs. the British immigration authorities. A foreign play previously produced
in London.
Note: Press date for Two Fish in the Sky was 11/7/82.
The Light Opera of Manhattan (LOOM). Repertory of three new revival productions and
12 running operetta revivals. H.M.S. Pinafore (36, following 14 performances of former
production) Book by W.S. Gilbert; music by Arthur Sullivan. Opened November 3, 1982.
(Closed January 16, 1983) The Gondoliers (14). Book by W.S. Gilbert; music by Arthur
Sullivan. Opened February 9, 1983. (Closed February 20, 1983) Rose Marie (28). Book
and lyrics by Otto Harbach and Oscar Hammerstein H; music by Rudolf Friml and
Herbert Stothart. Opened May 4, 1983 (Closed May 29, 1983) Produced by The Light
IN REPERTORY— Raymond Allen as Ko-Ko in The Mikado (left)
and Sir Joseph in H.M.S. Pinafore at Light Opera of Manhattan
Opera of Manhattan, William Mount-Burke producer-director, at the Eastside Playhouse
(Repertory closed May 29, 1983)
ALL PLAYS: Directed by William Mount-Burke; musical director, William Mount-Burke; assist-
ant musical director and pianist, Brian Molloy; assistant conductor and organist, Stanley Ger-
man; choreography, Jerry Gotham; stage manager, Jerry Gotham; press, Mary Jane Gibbons.
H.M.S. PINAFORE
Sir Joseph Raymond Allen
Capt. Corcoran Robert Barker
Ralph Rackstraw Anthony Emeric
Dick Deadeye Ryan Allen
Boatswain Francis Rella
Carpenter Kenneth McMullen
Josephine Sylvia Lanka/Joyce Bolton
Hebe Irma Rogers
Buttercup Ethelmae Mason
Ensemble: Janette Leslie Jones, Karen Sussman, Christopher McFadden, Cole Mobley, Lorie
Mayorga, Joanne Jamieson, Kenneth McMullen, Bob Cuccioli, Bruce Biggins, John Palmore, An-
thony Mellor, Barbara Rouse, Donna Campion, Karly Rothenberg, Krisztina Laurio, Diana
Blankman, Francis Rella, Douglas Dally, Roger Kirby, Michael Winther, Mary Martello, Lisa
Smith.
Ellen Greiss percussionist; Nancy McFarland violinist.
Scenery, Daniel Aronson; costumes, Bradford Wood; lighting, Mary Edith Jamison.
Place: The quarterdeck of H.M.S. Pinafore, off Portsmouth. Act I: Noon. Act II: Night.
This new revival production of the operetta (which was first produced in London 5/25/1878)
replaced the former LOOM production which played for 14 performances in June, August and
September this season.
398 THE BEST PLAYS OF 1982-1983
THE GONDOLIERS
Duke of Plaza-Toro Raymond Allen Duchess of Plaza-Toro Elizabeth
Luiz Robert Barker Burgess-Harr
Don Alhambra Vashek Pazdera Casilda Georgia McEver
Marco Palmieri Anthony Emeric Gianetta Joyce Bolton
Giuseppe Palmieri Stephen Rosario Tessa Harriet Couch
Antonio Bob Cuccioli Fiametta Donna Campion
Francesco John Palmore/Roger Kirby Vittoria Lorie Mayorga
Giorio Anthony Mellor Giulia Barbara Rouse
Annibale Michael Winther Inez Janette Leslie Jones
Page Gregory Mobley
Ellen Greiss percussionist; David Thorpe string.
Scenic artist, Ellen Kurrelmeyer; costumes, Melody Schneider; lighting, Mary Edith Jamison.
Time: About 1750. Act I: The Piazzetta, Venice. Act II: Pavilion in the Palace of Barataria, three
months later.
This new revival production of the operetta (which was first produced in London 12/7/1889)
replaced the former LOOM production.
ROSE MARIE
Sgt. Malone Anthony Emeric Wanda Joyce Bolton
Lady Jane Millie Petroski Hard-Boiled Herman Raymond Allen
Black Eagle Anthony Mellor Jim Kenyon Stephen Rosario
Edward Hawley Robert Barker/ Rose Marie La Flamme Sylvia Lanka
Bruce McKillip Ethel Brander Ann Kirschner
Emile La Flamme Bob Cuccioli
Scenery, Ellen Kurrelmeyer; costumes, George Stinson; lighting, Mary Edith Jamison; music
consultant, Alfred Simon; script consultant, Alice Hammerstein Mathias; script preparation, Karen
Schlotter; musical arrangements, Brian Molloy; special musical arrangements and orchestrations,
Stanley German
Rose Marie (Rose-Marie) was first produced on Broadway in the season of 1924-25, and its last
major New York revival of record took place in the 1926-27 season.
ACT I
Scene 1: Lady Jane's Totem Pole Saloon
"Vive la Canadienne" Ensemble
"Totem Tom-Tom" Wanda, Ensemble
"Hard-Boiled Herman" Herman, Jane, Ladies
"Rose Marie" Jim
"Rose Marie (Reprise) Malone, Hawley, Emile, Gentlemen
"Like Jim" Rose Marie
"Indian Love Call" Rose Marie, Jim
Scene 2: Sgt. Malone's Campfire in the Northern Canadian Woods
"Song of the Mounties" Malone, Gentlemen
Scene 3: Black Eagle's cabin
Scene 4: At Kootenay Pass
"Indian Love Call" (Reprise) Rose Marie, Jim
"Why Shouldn't We" Jane, Herman
"Pretty Things" Ethel, Hawley, Ensemble
"Indian Love Call" (Reprise) Rose Marie, Jim
Finale Rose Marie, Jane, Ethel, Malone, Hawley, Emile, Ensemble
ACT II
Entr'acte
Scene 1 : Ballroom of the Chateau Fortenac, Quebec, three weeks later
"Minuet of the Minute" Ethel, Emile, Ensemble
PLAYS PRODUCED OFF BROADWAY 399
"All I Ask Is That I May Forget You" .... Rose Marie, Wanda, Ethel, Jim, Hawley, Emile
"Door of My Dreams" Rose Marie, Ladies
Finaletto Rose Marie, Wanda, Ethel, Hawley, Malone, Emile, Ensemble
Scene 2: The cellar of 24 River Front
"Why Shouldn't We" (Reprise) Jane, Herman
Scene 3: Path to Rose Marie's castle
"Indian Love Call" (Reprise) Rose Marie, Jim
LOOM'S 1982-83 repertory included 12 running productions mounted in previous seasons and
presented on the following schedule (operettas have book and lyrics by W.S. Gilbert and music by
Arthur Sullivan unless otherwise noted): The Mikado (56), opened June 2, October 20, February 23
and April 6; H.M.S. Pinafore (14; old production), opened June 16 and August 25; The Merry
Widow (28), based on the book by Victor Leon and Leo Stein, music by Franz Lehar, English lyrics
by Alice Hammerstein Mathias, opened June 30 and April 20; The Pirates of Penzance (28), opened
July 14 and March 23; Ruddigore (14), opened July 28; A Night in Venice (14), book by William
Mount-Burke and Alice Hammerstein Mathias, based freely on an idea by Zell & Genee, music by
Johann Strauss, lyrics by Alice Hammerstein Mathias, opened August 11.
Also The Red Mill (21), book and lyrics by Henry Blossom, music by Victor Herbert, opened
September 8; Mile. Modiste (21), book and lyrics by Henry Blossom, music by Victor Herbert, opened
September 29; lolanthe (14), opened November 17; Babes in Toyland (28), book by William
Mount-Burke and Alice Hammerstein Mathias, lyrics by Alice Hammerstein Mathias, music by
Victor Herbert, opened December 8; The Desert Song (21), book and lyrics by Otto Harbach, Oscar
Hammerstein II and Frank Mandel, music by Sigmund Romberg, opened January 19; Patience (14),
opened March 9.
Performers in LOOM running repertory during the 1982-83 season included Raymond Allen,
Ryan Allen, Robert Barker, Joyce Bolton, Rob Bersworth, John J. Bonk, Elizabeth Burgess-
Harr, Cathy Cosgrove, Donna Campion, Harriet Couch, Bob Cuccioli, Rebecca Damauer, Anthony
Emeric, Antonio Garza, Billy Hester, Lloyd Harris, Karen Hartman.
Also Janette Leslie Jones, Roger Kirby, Ann J. Kirschner, Renee Kramer, Jacqueline Kroschell,
Sylvia Lanka, Catherine Lankford, Lief Lorenz, Georgia McEver, Anthony Mellor, Anthony Mi-
chalik, Ethelmae Mason, Kenneth McMullen, Lorie Mayorga, Christopher McFadden, Raul Melo,
Cole Mobley, Bruce McKillip, Dick O'Mara, Claudia O'Neill, Stephen O'Mara, Jennifer O'Rourke,
Susanna Organek, Gary Pitts, Vashek Pazdera, Maria Politano, Millie Petroski, John Palmore.
Also Stephen Rosario, Francis Rella, Irma Rogers, Barbara Rouse, Gary Ridley, Karly Ro-
thenberg, Cheryl Savitt, Karen Sussman, Peter Sham, John Sacco, Samuel Silvers, Kevin Usher,
Michael Winther.
Nurse Jane Goes to Hawaii (20). By Allan Stratton. Produced by Theater in the
Park, Sue Lawless artistic director, Sharon Rupert managing director, at the New York
State Pavilion, Flushing Meadows. Opened November 4, 1982. (Closed November 21,
1982)
Doris Chisholm Jennifer Bassey Peggy Scant Julie Osbum
Vivien Bliss Georgia Engel Peter Prior Jeffrey Dreisbach
Edgar Chisholm Brandon Maggart Betty Scant Liz Otto
Bill Scant Ronn Carroll
Directed by Sue Lawless; scenery, Kevin Wiley; costumes, Mary-Anne Aston; lighting, Mark Hen-
dren; production stage manager, Joe Watson; press, Shirley Herz Associates, Peter Cromarty.
Place: The living room of Edgar and Doris Chisholm, 16 The Bridle Path, Toronto, Canada. Act
I: A Friday in October, late afternoon. Act II: The same day, early evening.
The farcical adventures of a woman writer of romantic novels. A foreign play previously produced
in Toronto and Allentown, Pa.
Penelope (1). By J. Radloff. Produced by Vince Rhomberg in association with Patrick
Campbell, David Larkin and P.D. Mazza at the Perry Street Theater. Opened and closed
at the evening performance, November 23, 1982.
L
400 THE BEST PLAYS OF 1982-1983
Directed by Vince Rhomberg; scenery, Cecilia Gilchrest; costumes, Karen Matthews; lighting,
Vivien Leone; stage manager, Beth Prevor; press, Burnham-Callaghan Associates. With Joy
Franz, David Snizek, Mike Champagne, Robert Walsh, Paul O'Connor.
Comedy, a temperamental stage star of the 1930s. The play was presented in three parts.
A Christinas Carol (34). Adapted by Orson Bean from the novel by Charles Dickens.
Produced by Thomas C. Anderson Jr. and Triskaidek Productions at the Perry Street
Theater. Opened December 9, 1982. (Closed January 1, 1983)
CAST: Scrooge — Orson Bean; Bob Cratchit, Dick Williams — Michael Champagne; 1st Business-
man, 1st Gravedigger, Ghost of the Past, Poulterer, Christmas Shopper — Mitchell Greenberg; Fan,
Belinda, Daughter of Man — Debbie Hines; Tiny Tim — Knowl Johnson; Marley, Ghost of Present,
Debtor — Sherman Lloyd; Peter, Son of Man, Turkey Boy — Albie Polinsky; Charity Collector, Grave-
digger, Fop — Jay E. Raphael; Mrs. Cratchit, Mrs. Fezziwig — Mary Stout.
Directed by Christopher Catt; scenery, Johnienne Papandreas; costumes, Lindsay W. Davis; light-
ing. Curt Ostermann; choreographer, Mary Corsaro; sound and special effects, Peter Kallish; musical
direction, Bonita LaBossiere; production stage manager, J. Barry Lewis; press, Judy Jacksina, Glenna
Freedman.
Accent on comedy in a version of the Christmas classic.
Snoopy (152). Musical based on the Charles M. Schulz comic strip Peanuts; book by
Charles M. Schulz Creative Associates, Warren Lockhart, Arthur Whitelaw and Michael
L. Grace; music by Larry Grossman; lyrics by Hal Hackady. Produced by Gene Per-
sson in association with Paul D. Hughes, Martin Markinson, Donald Tick and United
Media Productions (Robert Roy Metz president) at the Lambs Theater. Opened December
20, 1982. (Closed May 1, 1983)
Charlie Brown Terry Kirwin Peppermint Patty Vicki Lewis
Linus Stephen Penning Snoopy David Garrison
Sally Brown Deborah Graham Woodstock Cathy Cahn
Lucy Kay Cole
Orchestra: Ronald Melrose piano, conductor; Robert Fisher piano; Michael Epstein drums.
Standbys: Jason Grace, Nina Hennessey.
Directed by Arthur Whitelaw; choreography. Marc Breaux; musical direction and additional
orchestrations, Ronald Melrose; scenery and costumes, David Graden; lighting, Ken Billington;
associate producer, Miranda Smith; production stage manager, Melissa Davis; press, Jeffrey Richards
Associates, C. George Willard, Richard Humleker.
The dog Snoopy and his bird friend Woodstock at the center of the Peanuts children's activities,
as in You're a Good Man Charlie Brown (but written by a different team and not a direct sequel to
that 1967 musical Best Play). Previously produced in San Francisco.
Jason Graae replaced David Garrison and Lorna Luft replaced Vicki Lewis (and a new song
"Hurry Up, Face" was added for her) 2/21/83.
ACT I
Overture Orchestra
"The World According to Snoopy" Ensemble
"Snoopy's Song" Snoopy, Ensemble
Woodstock's Theme Orchestra
"Edgar Allan Poe" Peppermint Patty, Lucy, Sally, Linus, Charlie Brown
"Mother's Day" Snoopy
"I Know Now" Lucy, Sally, Peppermint Patty
"Vigil" Linus
"Clouds" Ensemble
"Where Did That Little Dog Go?" Charlie Brown
"Dime a Dozen" Lucy, Peppermint Patty, Sally, Snoopy
"Daisy Hill" Snoopy
SNOOPY — Terry Kirwin as Charlie Brown and David Garrison
as Snoopy in musical based on Charies M. Schulz's "Peanuts"
ACT II
Entr'acte Orchestra
"Bunnies" Snoopy
"The Great Writer" Snoopy
"Poor Sweet Baby" Peppermint Patty
"Don't Be Anything Less Than
Everything You Can Be" Charlie Brown, Linus, Sally, Peppermint Patty
"The Big Bow- Wow" Snoopy
"Just One Person" Ensemble
"Bows" Ensemble
•Extremities (182). By William Mastrosimone. Produced by Frank Gero, Mark Gero,
Chris Gero, Jason Gero and Delia Koenig at the Cheryl Crawford Theater. Opened
December 22, 1982.
Marjorie Susan Sarandon
Raul James Russo
Terry Ellen Barkin
Patricia Deborah Hedwall
Directed by Robert Allan Ackerman; scenery, Marjorie Bradley Kellogg; costumes, Robert
Wojewodski; lighting, Arden Fingerhut; action sequences, B.H. Barry; sound. Scott Lehrer; produc-
tion stage manager. Louis D. Pietig; stage manager. Jonathan Gero; press. Solters/Roskin/Friedman,
Inc., Milly Schoenbaum, Warren Knowlton, Kevin Patterson.
Place: Between Trenton and Pnnceton. N.J., where the cornfield meets the highway. Act I: The
present, September. Act II: A moment later.
402 THE BEST PLAYS OF 1982-1983
Emotions and tensions in the aftermath of an attempted rape. Previously produced by Rutgers
Theater Company, New Brunswick, N.J. and Actors Theater of Louisville.
Karen Allen replaced Susan Sarandon 3/29/83. Glenne Headley replaced Ellen Barkin. Priscilla
Lopez replaced Glenne Headley 4/7/83. Farrah Fawcett replaced Karen Allen 5/24/83.
A Best Play; see page 211.
Poppie Nongena (131). By Sandra Kotze and Elsa Joubert; based on the novel by Elsa
Joubert. Produced by Edward Miller at St. Clement's. Opened January 12, 1983. (Closed
May 8, 1983)
Poppie Thuli Dumakude Uncle; Suitor; Husband Selaelo Maredi
Grandmother; Mother Sophie Mgcina Preacher Fana Kekana
Brothers Mmes. Constantia, Relief, Swanepoel;
Mosie Seth Sibanda Narrator Maggie Soboil
Plank Tsepo Mokone Policeman; Pass Official;
Jakkie Fana Kekana Mr. Green Alex Wipf
Understudies: Miss Dumakude — Cheryl Bruce; Messrs. Sibanda, Mokone, Kekana, Maredi —
Lowell Williams; Miss Soboil — Sara Gromley Plass; Mr. Wipf — Norman Marshall.
Directed by Hilary Blecher; scenery, John Ringbom; lighting, William Armstrong; costumes, Shura
Cohen; consultants to the producer, Barney Simon, Hilary Blecher; "Wedding Song," Travelling
Song," "Second Hymn" by Sophie Mgcina; traditional songs arranged by Sophie Mgcina; stage
manager, Meyer Baron; press, Monina Von Opel, Jeffrey Richards Associates.
Time: 1949-1972. Place: South Africa. The play was presented in two parts.
True story (with the names changed) of the travails of a black woman working as a maid in South
Africa. A foreign play previously produced off off Broadway at the Cubiculo and by the Music-
Theater Group/Lenox Arts Center.
*The Negro Ensemble Company. Schedule of three programs. Sons and Fathers of
Sons (29). By Ray Aranha. Opened January 28, 1983. (Closed February 20, 1983) About
Heaven and Earth (24). Program of three one-act plays: The Redeemer by Douglas Turner
Ward, Nightline by Julie Jensen and Tigus by Ali Wadad. Opened April 12, 1983. (Closed
May 1, 1983) *Manhattan Made Me (17). By Gus Edwards. Opened May 17, 1983.
Produced by The Negro Ensemble Company, Douglas Turner Ward artistic director, Leon
B. Denmark managing director, at Theater Four.
SONS AND FATHERS OF SONS
Sister 2 Olivia Virgil Harper Clyde; Reuben Johnson Eugene Lee
Sister 1 Sarallen Bubba; Bruce Mitchell Robert Gossett
Sister 3 Ethel Ayler Emmitt Howard Baines
Vickie; Melanie Phyhcia Ayers- Allen Fred T. Blachley; Johnny .... Graham Brown
Directed by Walter Dallas; scenery, Wynn Thomas; costumes, Vicki Jones; lighting, William H.
Grant HI; sound, Gary Harris; costumes supervisor, Judy Dearing; production stage manager,
Horacena J. Taylor; stage managers, Janice C. Lane, Edward De Shae; press, Howard Atlee, Barbara
Atlee.
Time and Place: Around 1943 in a rural Southern town in Mississippi; around 1953 in the same
rural town; around 1960 in an all-black university in Tallahassee, Fla. The play was presented in two
parts.
A student, a professor and a sharecropper's son in three time frames.
ABOUT HEAVEN AND EARTH
The Redeemer Feminist Kathleen Forbes
Black Woman L. Scott Caldwell Black Man Eugene Lee
White Revolutionary David Davies Old Lady Naomi Riseman
I
PLAYS PRODUCED OFF BROADWAY 403
Rabbi Curt Williams Driver Curt Williams
Comedy, a motley group awaits the Second Passengers journey through the night on a
Coming on Judgment Day. Previously produced Greyhound bus.
at Actors Theater of Louisville. ^
Tigus
Night line Tigus Douglas Turner Ward
Raimy L. Scott Caldwell A man's monologue about his women and his
Ogilvy Eugene Lee barroom friends.
Sarah Naomi Riseman
BOTH PLAYS: Directed by Douglas Turner Ward; production stage manager, Femi Sarah
Heggie.
MANHATTAN MADE ME
Barry AndersoTi Eugene Lee Duncan Robert Gossett
Claire McKenzie Kathleen Forbes Alan McKenzie David Davies
Directed by Douglas Turner Ward; scenery and costumes, Felix E. Cochren; hghting, Sylvester N.
Weaver Jr.; sound, Bernard Hall; stage managers, Ed De Shae, Jessie Wooden Jr.
Blacks and whites living together in the Big Apple while looking for employment as actors.
*Quartermaine*s Terms (HI). By Simon Gray. Produced by John A. McQuiggan and
Ethel Watt in association with Brent Peek Productions in the Long Wharf Theater
production at Playhouse 9L Opened February 24, 1983.
St. John Quartermaine Remak Ramsay Derek Meadle Anthony Heald
Anita Manchip Caroline Lagerfelt Henry Windscape John Cunningham
Mark Sackling Kelsey Grammer Melanie Garth Dana Ivey
Eddie Loomis Roy Poole
Directed by Kenneth Frankel; scenery, David Jenkins; costumes, Bill Walker; lighting, Pat
Collins; stage manager, George Darveris; press, Betty Lee Hunt, Maria Cristina Pucci, James
Sapp, Maurice Turet.
Time: A period of three years during the early 1960s. Place: the staff room of the Cull-Loomis
School of English for Foreigners, Cambridge, England. Act I, Scene 1: Springtime, Monday, 9:30 in
the morning. Scene 2: Some weeks later, Friday afternoon, a few minutes before 5. Act II, Scene 1:
The following year, towards summer; Monday morning, about 9:30. Scene 2: A Friday evening, some
months later. Scene 3: Eighteen months later, around Christmas, evening.
The increasing loneliness and isolation of one individual within a close-knit faculty group. A foreign
play previously produced in London and at the Long Wharf Theater, New Haven, Conn.
A Best Play; see page 229.
Goodnight, Grandpa (6). By Walter Landau. Produced by Walin Productions in associa-
tion with Arthur Albert at the Entermedia Theater. Opened March 2, 1983. (Closed
March 6, 1983)
Directed by Jay Broad; scenery, David Potts; costumes, Robert Wojewodski; lighting, Todd Elmer;
associate producer, Paul B. Berkowsky; production stage manager, William Hare; press, Jeffrey
Richards Associates, C George Willard. With Lorry Goldman, Laurie Heineman, Milton Berle, Lee
Wallace, Maxine Taylor-Morris, Martin Haber, Jean Barker, Estelle Kemler, P. Jay Sidney.
A centenarian (portrayed by Milton Berle) and his memories. Previously produced at PAF Play-
house, Huntington, L.I. and Syracuse, N.Y., Stage.
A Bundle of Nerves (33). Musical revue with music by Brian Lasser; lyrics by Geoff
Leon and Edward Dunn. Produced by Leonard Finger, Howard J. Burnett and Terry
Spiegel at the Top of the Gate. Opened March 13, 1983. (Closed April 10, 1983)
404 THE BEST PLAYS OF 1982-1983
Gary Beach Vicki Lewis
Carolyn Casanave Karen Mason
Ray Gill
Directed by Arthur Faria; choreography, Arthur Faria; musical director, Clay FuUum; scenery and
lighting, Barry Arnold; costumes, David Toser; sound, Tom Morse; vocal arrangements and orches-
trations, Steven Margoshes; stage manager, Joseph De Pauw; press, Henry Luhrman, Terry
Lilly, Kevin P. McAnarney, Keith Sherman.
Satire on major neuroses of our time.
MUSICAL NUMBERS, ACT I: "A Bundle of Nerves"— Company; 'The News"— Company; "I
Eat" — Karen Mason; "She Smiled at Me" — Ray Gill; "Boogey Man" — Carolyn Casanave, Mason,
Vicki Lewis; "Flying" — Gary Beach; "Old Enough to Know Better" — Casanave, Lewis; "Studs" —
Beach, Gill; "What's That?" — Casanave; "I Don't Know How to Have Sex" — Company.
ACT II: "The Fatality Hop" — Company; "Waiting" — Company; "After Dinner Drinks" — Casa-
nave, Beach; "Slice of Life" — Lewis, Gill; "What Do You Do" — Karen; "Connie" — Gill, Casanave,
Mason, Lewis; "I'm Afraid" — Company; "That Sound" — Company; "A Bundle of Nerves" (Reprise)
— Company.
*The Middle Ages (78). By A.R. Gurney Jr. Produced by Alison Clarkson, Stephen
Graham, Joan Stein and The Shubert Organization at the Theater at St. Peter's Church.
Opened March 23, 1983.
Barney Jack Gilpin Charles Andre Gregory
Eleanor Ann McDonough Myra Jo Henderson
Standby: Miss McDonough — Connie Coit.
Directed by David Trainer; scenery, John Lee Beatty; costumes, David Murin; lighting, Frances
Aronson; sound, Paul Garrity; production stage manager, M.A. Howard; press, David Powers.
Time: The mid- 1940s to the late 1970s. Place: The trophy room of a men's club in a large city.
Comedy, the emotional and social crises within a WASP family over a span of four decades.
It's Better With a Band (47). Musical revue with music by Wally Harper, Doug Kat-
saros, Rob LaRocco, Alan Menken, Jimmy Roberts, Jonathan Sheffer, Bryon Som-
mers and Pamala Stanley; lyrics by David Zippel. Presented by The Better Company,
Roger Alan Gindi executive producer, at The Club Room at Sardi's. Opened March 28,
1983. (Closed April 30, 1983)
Scott Bakula Nancy LaMott
Catherine Cox Jenifer Lewis
Directed by Joseph Leonardo; musical direction, Rob LaRocco; scenery, Michael J. Hotopp, Paul
de Pass; costumes, Cinthia Waas; lighting, John Hastings; associate producer, Joseph Hartney;
production stage manager. Perry Cline; stage manager. Trey Hunt; press, Francine L. Trevens, Penny
M. Landau, Amy Carr, Elaine Campbell.
Topical revue presented at the famous theatrical restaurant on West 44th Street. The show was
presented without intermission.
MUSICAL NUMBERS: "It's Better With a Band" (music by Wally Harper)— Company; "The
Camel Song" (music by Doug Katsaros) — Jenifer Lewis; "You'll Never See Me Run" (music by Alan
Menken) — Scott Bakula; "Loud Is Good" (music by Jonathan Sheflfer) — Nancy LaMott; "The Inge-
nue" (music by Wally Harper) — Catherine Cox; "What I Like Is You" (music by Pamala Stanley)
— Cox, LaMott; "God's Gift" (music by Rob LaRocco) — Bakula; "Why Don't We Run Away"
(music by Bryon Sommers) — LaMott; "Make Me a Star/Movie Queen" (music by Bryon Summers
and Pamala Stanley) — Lewis, Company.
Also "Lullaby" (music by Doug Katsaros from Just So) — Bakula; "I Can't Remember Living
Without Loving You" (music by Wally Harper) — Cox; "Horsin' Around" (music by Jimmy Roberts)
— LaMott; "Forget It" (music by Ron LaRocco) — Cox, LaMott; "I Reach for a Star" (music by
PLAYS PRODUCED OFF BROADWAY 405
Jonathan Sheffer from Going Hollywood) — Bakula; "Time on Our Side" (music by Bryon Sommers)
— Lewis; "Life's Ambition" (music by Wally Harper) — Cox; "Another Mr. Right" (music by Jona-
than Sheffer from Going Hollywood) — LaMott; "A Song for Myself (music by Pamala Stanley) —
Company
The Other Side of the Swamp (62). By Royce Ryton. Produced by William Alan at the
Actors' Playhouse. Opened March 31, 1983. (Closed May 22, 1983)
Terence Jenkins Alexander Wilson
Leslie Brown David Schmitt
Directed by Lawrence Hardy; scenery, Jan S. Utstein; costumes, George Potts; lighting, Bruce
Kahle; production stage manager, Charles Y. Doyle; press, Francine L. Trevens, T. David Do-
bris.
Place: The sitting room of Terry's flat in Kensington, London. Act I, Scene 1: Evening, Winter,
1977. Scene 2: Afternoon, the same year. Scene 3: Evening, a few days later. Scene 4: Morning, two
years later. Scene 5: Afternoon, a few weeks later. Act II, Scene 1: Mid-morning, a few days later.
Scene 2: Early morning, several weeks later. Scene 3: Mid-morning, two years later. Scene 4: Mid-
night, a few weeks later.
Love affair between homosexuals. A foreign play previously produced in London.
The Acting Company. Repertory of three revivals. Pericles, Prince of Tyre (8). By William
Shakespeare. Opened April 19, 1983. (Closed April 24, 1983) Tartuffe (4). By Mo-
liere; English verse translation by Richard Wilbur. Opened April 26, 1983. (Closed April
28, 1983) Play and Other Plays (4). Program of one-act plays by Samuel Beckett:
Play, Krapp's Last Tape and Come and Go. Opened April 29, 1983. (Closed May 1, 1983)
Produced by The Acting Company, John Houseman producing artistic director, Margot
Harley executive producer, Muriel Kahn and Alan Schneider artistic directors, at the
American Place Theater.
ALL PLAYS: Production stage manager, Giles F. Colahan; stage manager, Michael S.
Mantel; press, Fred Nathan and Associates, Anne S. Abrams, Eileen McMahon, Leo Stern, Bert
Fink.
PERICLES, PRINCE OF TYRE
Gower J. Andrew McGrath 1st Fisherman; Pandar Jack Kenny
Antiochus; Bawd David Manis 2d Fisherman; Lysimachus. . David O. Harum
Pericles Tom Hewitt 3d Fisherman; Philemon;
Thaliard; Leonine Michael Manuelian Philoten Ray Virta
Helicanus; Lychorida; Diana . . Libby Colahan Simonides Richard S. Iglewski
Cleon John Stehlin Thaisa; Marina Ronna Kress
Dionyza; Boult Margaret Reed Cerimon Philip Goodwin
Lords, Knights, Gentlemen, Messengers, Sailors, Whores: Libby Colahan, Philip Goodwin, J.
Andrew McGrath, Jack Kenny, Ray Virta, David Manis, Michael Manuelian, John Stehlin, Richard
S. Iglewski, Margaret Reed, David O. Harum.
Understudies: Mr. Hewitt — David Manis; Mr. McGrath — Michael Manuelian; Mr. Manis — Philip
Goodwin; Messrs. Stehlin, Iglewski — Ray Virta; Messrs. Goodwin, Kenny — Morton Milder; Misses
Kress, Reed, Colahan — Lynn Chausow, Libby Colahan.
Directed by Toby Robertson; scenery. Franco Colavecchia; costumes, Judith Dolan; lighting,
Dennis Parichy; musical direction, Jim Cummings; music composition, Carl Davis, Jim Cum-
mings; choreography, Devorah Fong; associate director, Morton Milder.
Time: The present. Place: The Mediterranean seaboard. The play was presented in two parts.
Pericles as theater of the absurd, set in a modern madhouse. Its last major New York production
was by New York Shakespeare Festival in Central Park 6/20/74 for 24 performances.
406
THE BEST PLAYS OF 1982-1983
TARTUFFE
Mme. Pernell Libby Colahan TartufFe.
Orgon Richard S. Iglewski
Elmire Megan Gallagher
Damis John Stehlin
Mariane Margaret Reed
Valere Ray Virta
Cleante J. Andrew McGrath
Philip Goodwin
Dorine Lynn Chausow
M. Loyal Jack Kenny
Police Officer Michael Manuelian
Flipote Ronna Kress
Laurent David O. Harum
Servant David Manis
Understudies: Misses Reed, Colahan — Ronna Kress; Messrs. Iglewski, Virta — David O.
Harum; Miss Gallagher — Margaret Reed; Miss Chausow — Libby Colahan; Messrs. Stehlin, Kenny,
Manuelian — Tom Hewitt; Mr. McGrath — David Manis; Mr. Goodwin — J. Andrew McGrath; Mr.
Manis — Morton Milder.
Directed by Brian Murray; scenery, Michael Yeargan; costumes, Jane Greenwood; lighting, Greg-
ory C. McPherson; composer and musical director, Catherine MacDonald.
The last major New York revival of Tartujfe was by Circle in the Square on Broadway in this
translation 9/6/11 for 88 performances.
PLAY AND OTHER PLAYS
Play
Wl Libby Colahan
M Jack Kenny
W2 Megan Gallagher
Understudies: Miss Colahan — Ronna Kress;
Mr. Kenny — Morton Milder; Miss Gallagher —
Margaret Reed.
The last major New York revival of Play took
place on a program also entitled Play and Other
Plays, also under Alan Schneider's direction, at
Manhattan Theater Club 12/14/77 for 35 perfor-
Krapp's Last Tape
Krapp . Richard S. Iglewski
Understudy: Mr. Iglewski — Philip Goodwin.
Time: A late evening in the future. Place:
Krapp's den
The last major New York revival of Krapp's
Last Tape took place off Broadway 1 1/22/72 for
15 performances.
Come and Go
Flo Margaret Reed
Vi Libby Colahan
Ru Megan Gallagher
Understudy: Misses Reed, Colahan, Gallagher
— Ronna Kress.
Come and Go — written in English in 1965 and
first presented in 1966 in German in Berlin at the
Schiller Theater — was last revived off off Broad-
way in November 1976.
Directed by Alan Schneider; scenery, Mark Fitzgibbons; costumes, John David Ridge; lighting,
Dennis Parichy.
Note: The Acting Company also produced a revival of The Cradle Will Rock this season, with a
cast composed of Acting Company alumni. It is separately listed in this section of this volume.
* Win/Lose/Draw (42). Program of three one-act plays: Little Miss Fresno by Ara
Watson and Mary Gallagher, Final Placement by Ara Watson and Chocolate Cake by
Mary Gallagher. Produced by Rosita Sarnoff, Anne Wilder, Joseph L. Butt and Doug
Cole at the Provincetown Playhouse. Opened April 24, 1983.
Little Miss Fresno
Ginger Khabacki Christine Estabrook
Doris Nettles Lynn Milgrim
Place: A fairground, Fresno, Calif. Two moth-
ers compare their daughters during a beauty con-
test.
Final Placement
Mary Hanson Lynn Milgrim
Luellen James Christine Estabrook
Place: A child welfare office, Tulsa, Okla. A
social worker's handling of a child-abuse case.
Commissioned and first produced by Actors
Theater of Louisville.
Chocolate Cake
Annmarie Fitzer Christine Estabrook
Delia Baron Lynn Milgrim
Place: A motel room. Western Mass. A pair of
dieters trying to resist temptation. Commis-
sioned and first produced by Actors Theater of
Louisville.
.^.^^mmr^^Jfm^^
/
WIN /LOSE/ DRA H^— Christine Estabrook and Lynn Milgrim
in the Little Miss Fresno segment of the one-acter program
408 THE BEST PLAYS OF 1982-1983
Understudies: Jeanne Michaels, Jeanne Cullen.
Directed by Amy Saltz; scenery, Louis Nelson; costumes, Ruth Morley; lighting, David F.
Segal; sound. Bob Kerzman; associate producers, Joseph K. Fisher, Betsy Rosenfield; stage manager,
Peter Weicker; press, Shirley Herz, Peter Cromarty.
♦Wild Life (33). Program of one-act plays by Shel Silverstein: Fm Good to My Dog-
gies, Chicken Suit Optional and The Lady or the Tiger Show. Produced by Stevie
Phillips in association with Universal Pictures at the Vandam Theater. Opened May 2,
1983.
Tm Good to My Doggies Tucker Pym Howard Sherman
Louis Benjamin Hinkle . . . Henderson Forsythe Kenny Crane Conard Fowkes
Arthur Pitler W.H. Macy Bishop Cooley Henderson Forsythe
Place: A bad street in a bad neighborhood. A Lavinia Tremaine Jody Gelb
blind man searches for a Seeing Eye dog. Florence Haskins Julie Hagerty
Lamar Darfield Raynor Scheine
Chicken Suit Optional Understudy: Miss Hagerty-Jody Gelb.
^^^^•" -^^"^^^ C^^^" Time: The present. Place: EUiot Cushman's
Thomas Moultrie Patten ^^^^ underneath the Houston Astrodome. The
Place: The bathroom of the Yale Club. Two Lady-Tiger drama played as a modern spectacle
men obsessed with conformity. complete with TV coverage. Previously pro-
The Lady or the Tiger Show ^';»ce^ o^ o^ Broadway by Ensemble Studio
Elliot Cushman Christopher Murney
Theater.
Directed by Art Wolff; scenery, Marjorie Bradley Kellogg; costumes, Franne Lee; lighting, Arden
Fingerhut; sound, Bruce Ellman; associate producer, Bonnie Champion; production stage manager,
David S. Felder; press, Jeffrey Richards Associates, C. George Willard, Ben Morse.
*My Astonishing Self (33). Revival of the one-man performance devised by Michael
Voysey from the writings of George Bernard Shaw. Produced by Howard J. Burnett and
Morton Wolkowitz at the Players Theater. Opened May 3, 1983.
George Bernard Shaw Donal Donnelly
Scenery and lighting, Victor Capecce; lighting associate, Andrea Wilson; production stage manager,
Larry Bussard; press, Henry Luhrman Associates, Terry M. Lilly, Kevin McAnarney, Keith
Sherman.
Portrait of Shaw assembled from his own writings. The play was presented in two parts. Originally
produced off Broadway 1/18/78 for 48 performances.
The Cradle Will Rock (24). Revival of the musical by Marc Blitzstein. Produced by the
Acting Company at the American Place Theater. Opened May 9, 1983. (Closed May 29,
1983)
Moll; Sister Mister Patti LuPone Dr. Specialist; Bugs. . . Charles Shaw-Robinson
Gent; Editor Daily Tom Robbins Clerk Michael Barrett
Dick; Junior Mister Henry Stram Mrs. Mister Mary Lou Rosato
Cop; Gus Polock Casey Biggs Mr. Mister David Schramm
Rev. Salvation; Prof Trixie .... James Harper Steve; Prof Scoot;
Yasha Gerald Gutierrez Reporter #1 Daniel Corcoran
Dauber; Larry Foreman Randle Mell Sadie Polock; Reporter #3 Laura Hicks
Pres. Prexy Paul Walker Ella Hammer Michele-Denise Woods
Prof Mamie; Harry Druggist . . . Brian Reddy Reporter #2 Susan Rosenstock
Musicians: Jayne Hill trumpet, Susan Owens piccolo, Larry Spivack percussion.
Understudies: Miss LuPone — Michele-Denise Woods, Laura Hicks; Mr. Robbins — Gerald Gu-
tierrez; Mr. Stram — Randle Mell; Mr. Harper — Tom Robbins, Casey Biggs; Messrs. Schramm,
PLAYS PRODUCED OFF BROADWAY 409
Gutierrez, Corcoran — Paul Walker; Mr. Walker — Charles Shaw -Robinson; Mr. Reddy — Henry
Stram; Mr. Shaw-Robinson — Brian Reddy; Mr. Barrett — Charles Berigan; Misses Rosato, Woods —
Susan Rosenstock; Mr. Stram — Daniel Corcoran; Mr. Mell — James Harper.
Directed by John Houseman; musical direction, Michael Barrett; produced by Margot Harley;
scenery, Mark Fitzgibbons; costumes, Judith Dolan; lighting, Dennis Parichy; stage managers, Don
Judge, Kathleen B. Boyette; press, Fred Nathan Associates, Anne S. Abrams.
Time: The night of a union drive. Place: Steeltown, U.S.A. Scene 1: Streetcorner. Scene 2. Night
court. Scene 3: Mission. Scene 4: Lawn of Mr. Mister's home. Scene 5: Drugstore. Scene 6: Hotel
lobby. Scene 7: Night court. Scene 8: Faculty room. Scene 9: Dr. Specialist's office. Scene 10: Night
court. The play was presented in two parts, with the intermission following Scene 6.
This production, produced by the Acting Company, was cast with its alumni in a limited engage-
ment (the company's current repertory is listed elsewhere in this section of this volume). The Cradle
Will Rock was originally produced by the Mercury Theater 1/3/38 for 108 performances and has
been revived several times, the most recent one having taken place off Broadway 11/8/64 for 82
performances.
*Out of the Night (24). Adapted by Eric Krebs from a book by Jan Valtin. Produced by
George Street Playhouse at the Douglas Fairbanks Theater. Opened May 11, 1983.
CAST: Robertson Carricart, Gary Armagnac, Luke Sickle, Giulia Pagano, Douglas Werner.
Directed by Eric Krebs; costumes, Linda Reynolds; lighting, Daniel Stratman; sound, Peter
Kalish; stage manager, Maureen Heffernan; press, Jeffrey Richards Associates.
A German-born Communist breaks with the party in the 1930s; based on his autobiography. The
play was presented in two parts.
* Jacques Brel Is Alive and Well and Living in Paris (18). Revival of the musical conceived
by Eric Blau and Mort Shuman; music by Jacques Brel, Francois Rauber, Gerard Jo-
uannest and Jean Corti; English lyrics and additional material by Eric Blau and Mort
Shuman; based on Jacques Brel's lyrics and commentary. Produced by Pat Produc-
tions in the Eric Blau production at the First City Theater. Opened May 15, 1983.
Leon Bibb Joseph Neal
Margery Cohen Jacqueline Reilly
J.T. Cromwell Betty Rhodes
Directed by Eric Blau; scenery and costumes, Don Jensen; lighting and sound, Steve Helliker;
director of production of First City, Art D'Lugoff; press, M.J. Boyer.
The 15th anniversary production of this revue, first produced off Broadway 1/22/68 for 1,847
performances and last revived on Broadway 2/19/81 for 21 performances.
The list of musical numbers in Jacques Brel, etc. appears on page 366 of The Best Plays of 1980-81.
* Jeeves Takes Charge (15). One-man show conceived, adapted and performed by Edward
Duke; based on works of P.G. Wodehouse. Produced by Lawrence N. Dykun, Michael
J. Needham and Robert L. Sachter at the Space at City Center. Opened May 17, 1983.
Directed by Gillian Lynne; scenery, Carl Toms; costumes, Una-Mary Parker; lighting Craig
Miller; choreography, Susan Holderness; press, Judy Jacksina, Glenna Freedman.
Prologue: The Drones Club, 1925. Act I (Jeeves Takes Charge; place, Berkeley Mansions, London
W.I.), Scene 1: Jeeves Takes Charge told by Bertie Wooster. Scene 2: Bertie Changes His Mind told
by Jeeves. Act II (Wooster in Wonderland). Scene 1: Bertie's bedroom. Scene 2: A village tent.
Bertie Wooster, his gentleman's gentleman Jeeves and ten other Wodehouse characters, all por-
trayed by Edward Duke. A foreign play previously produced in London. The play was presented in
two parts.
Welcome Home Jacko (16). By Mustapha Matura. Produced by Black Theater Coop-
erative at the Quaigh Theater. Opened May 17, 1983. (Closed May 29, 1983)
410 THE BEST PLAYS OF 1982-1983
Fret Gary Beadle Sandy Maggie Shevlin
Dole Chris Tummings Gail Shope Shodeinde
Zippy Brian Bovell Jacko Malcolm Frederick
Marcus Victor Romero Evans
Directed by Charlie Hanson; costumes, Gemma Jackson; stage managers, Melvyn Jones, Dennis
Lieberson; press, Max Eisen.
Time: 1980. Place: A youth club in London.
Doings among Rastafarian members of a black youth club. A foreign play previously produced in
London and in this production, brought to New York for a limited engagement, at Theater Royal,
Stratford East.
i
PLAYS PRODUCED
OFF OFF BROADWAY
AND ADDITIONAL PRODUCTIONS
Here is a comprehensive sampling of off-ofF-Broadway and other experimental
or peripheral 1982-83 productions in New York, compiled by Camille Croce.
There is no definitive "off-off-Broadway" area or quahfication. To try to define
or regiment it would be untrue to its fluid, exploratory purpose. The listing below
of hundreds of works produced by more than 75 GOB groups and others is as
inclusive as reliable sources will allow, however, and takes in all leading Manhat-
tan-based, new-play-producing, English-language organizations.
The more active and established producing groups are identified in bold face
type, in alphabetical order, with artistic policies and the name of the managing
director(s) given whenever these are a matter of record. Each group's 1982-83
schedule is listed with play titles in CAPITAL LETTERS. Often these are
works-in-progress with changing scripts, casts and directors, sometimes without
an engagement of record (but an opening or early performance date is included
when available).
Many of these off-ofF-Broadway groups have long since outgrown a merely
experimental status and are offering programs which are the equal in professional-
ism and quality (and in some cases the superior) of anything in the New York
theater, with special contractual arrangements like the showcase code, letters of
agreement (allowing for longer runs and higher admission prices than usual) and,
closer to the edge of the commercial theater, a so-called "mini-contract." In the
list below, all available data on opening dates, performance numbers (with a plus
sign -f in the case of a show still running) and major production and acting
credits (almost all of them Equity members) is included in the entries of these
special-arrangement offerings.
A large selection of lesser-known groups and other shows that made appear-
ances off off Broadway during the season appears under the "Miscellaneous"
heading at the end of this listing.
Amas Repertory Theater. Dedicated to bringing all people regardless of race, creed, color
or economic background, together through the creative arts. Rosetta LeNoire, founder and
artistic director.
16 performances each
LOUISIANA SUMMER. Book, Robert and Bradley Wexler; music, Rocky Stone; lyrics, Robert
Wexler. October 28, 1982. Director, Robert Stark; choreographer, Keith Rozie; musical director,
Lea Richardson; scenery, Tom Barnes; lighting, Ronald L. Mclntyre; costumes, Eiko
Yamaguchi. With Garrick Lavon, Raymond Zipf, Steve Fickinger, Wendy Kimball, Lani
Marrell, Tracy Heffernan, Kimberly Mucci, Sonia Bailey, Ann Talman.
MISS WATERS, TO YOU. Book, Loften Mitchell, based on a concept by Rosetta LeNoire; music
from Miss Waters's repertoire. February 24, 1983. Director, Billie Allen; choreographer, Keith
Rozie; musical director, Luther Henderson; scenery, Tom Barnes; lighting, Gregg Marriner;
411
AMERICAN PLACE THEATER— Caroline Kava as Susan B. Anthony
and Linda Hunt as Joan of Arc in Lavonne Mueller's Little Victories
costumes, Jeff Mazor. With Mary Louise, Jeff Bates, Denise Morgan, Keith David, Leon Sum-
mers, Jr., Stanley Ramsey, Yolanda Graves, Melodee Savage.
OPENING NIGHT. Book, music, and lyrics, Corliss Taylor-Dunn and Sandra Reaves-Phil-
lips. April 21, 1983. Director, William Michael Maher; choreographer, Mabel Robinson; musical
director, Grenoldo; scenery, Larry Fulton; lighting, Gregg Marriner; costumes, Judy Dear-
ing. With Adjora F. McMillan, Avery Sommers, Dan Strayhorn, Bob McAndrew, Becky
Woodley, Leslie Dockery, Adam Hart.
American Place Theater. In addition to the regular off-Broadway subscription season,
cabaret and other special projects are presented. Wynn Handman, director, Julia
Miles, associate director.
American Humorists Series
THE STAGE THAT WALKS (24). With Bruce D. Schwartz. September 21, 1982. Lighting,
Christine Wopat.
PLAYS PRODUCED OFF OFF BROADWAY 413
SPEAKEASY: AN EVENING OUT WITH DOROTHY PARKER (28). Adapted and directed
by Michael Feingold. December 28, 1982. Scenery and costumes, Brian Martin; lightmg, Edward
M. Greenberg. With Kit Flanagan, W.H. Macy.
The Women's Project
LITTLE VICTORIES (18). By Lavonne Mueller. January 26, 1983. Director, Bryna Wortman;
scenery, William M. Barclay; lighting, Phil Monat; costumes, Mimi Maxmen; music. Clay Ful-
lum. With Caroline Kava, Linda Hunt, Terrence Markovich, Bill Cwikowski, Jimmy Smits, John
Griesemer, Randy Spence.
Circle Repertory Projects in Progress. Developmental programs for new plays. Marshall
W. Mason, artistic director.
ROCK COUNTY by Bill Elverman. October 4, 1982. Directed by Bryna Wortman; with Peter
Bergman, Patricia Wettig, Toni James, Helen Stenborg, John Dossett, William Severs, Michael
Ayr.
THE PAPER BOY by Jonathan Feldman. October 25, 1982. Directed by Joan Micklin Sil-
ver; with John Dossett, Laura Hughes, Barbara Baxley, Jonathan Bolt, Stephanie Gordon, Jack
Davidson, Jonathan Hogan.
OUT OF ORDER by Janet Neipris. November 15, 1982. Directed by Eve Merriam; with Jack
Davidson, Willie Reale, Stephanie Gordon, Richard Seff.
IN PLACE by Corinne Jacker. January 17, 1983. Directed by John Henry Davis; with Mary
Alice, Ken Kliban, Stephanie Gordon.
LEVITATION by Timothy Mason. February 7, 1983. Directed by B. Rodney Marriott; with
Michael Higgins, Robert Joy, Bobo Lewis, Eric SchifF, Willie Reale, Stephanie Gordon, Helen
Stenborg, Ed Seamon.
I WONT BE HERE FOREVER by Milan Stitt. February 28, 1983. Directed by Austin Pen-
dleton; with Helen Stenborg, Lisa Emery, Jo Henderson, Roger Chapman, Richard Seff, Brendan
Murphy.
THE CHERRY ORCHARD PART II by Anthony Holland and William M. Hoffman. March
14, 1983. Directed by David Fitelson; with Kitty Muldoon, Terrence Markovich, Richard
Seff, Trish Hawkins, Nancy Donohue, Jonathan Hogan, Ken Kliban, Jack Davidson, Ben Sie-
gler, Stephanie Gordon.
FADED GLORY by Timothy Bums. May 21, 1983. Directed by Marshall W. Mason.
Ensemble Studio Theater. Nucleus of playwrights-in-residence dedicated to supporting
individual theater artists and developing new works for the stage. Almost 300 projects each
season, initiated by E.S.T. members. Curt Dempster, artistic director.
WELCOME TO THE MOON (13). By John Patrick Shanley. November 22, 1982. Director,
Douglas Aibel; scenery, Evelyn Sakash; lighting, Mai Sturchio; costumes, Deborah Shaw; musical
director, Barry Koron. With Robert Joy, John Henry Kurtz, Michael Albert Mantel, Anne
O'Sullivan, James Ryan, June Stein.
THE MODERN LADIES OF GUANABACOA (30). By Eduardo Machado. January 19, 1983.
Director, James Hammerstein; scenery and lighting, Bennet Averyt; costumes, Deborah
Shaw; music. Rick Vartorella. With Tresa Hughes, Larry Bryggman, Ellen Barber, John
Rothman, Stefano Loverso, Robert Hallak, Julie Garfield, Susan Merson, Jose Santana.
THE HOUSE OF RAMON IGLESIA (25). Jose Rivera. March 16, 1983. Director, Jack
Gelber; scenery, Brian Martin; lighting, Cheryl Thacker; costumes, Deborah Shaw. With Robert
Badillo, Norman Briski, Giancarlo Esposito, Ramon Franco, Lisa Maurer, Carla Pinza.
MARATHON 1983 (one-act play festival): TOUCH BLACK by Bill Bozzone, directed by Risa
Bramon; THE DOLPHIN POSITION by Percy Granger, directed by Jack Gelber; THE
SURVIVALIST by Robert Schenkkan, directed by Steven D. Abrezzi; POISONER OF THE
414 THE BEST PLAYS OF 1982-1983
WELLS by Brother Jonathan, directed by James A. Simpson; POSTCARDS by Carol K.
Mack, directed by Joan Mickhn Silver; FIVE UNRELATED PIECES by David Mamet, directed
by Curt Dempster; PASTORAL, OR RECOLLECTIONS OF COUNTRY LIFE by Peter
Maloney, directed by John Schwab; EULOGY by James G. Richardson, directed by Heidi Helen
Davis; CASH by Stuart Spencer, directed by Charles I. Karchmer; TENDER OFFER by Wendy
Wasserstein, directed by Jerry Zaks; I LOVE YOU, I LOVE YOU NOT by Wendy Kessel-
man, directed by Juhanne Boyd; DELUSIONS OF A GOVERNMENT WITNESS by Louis
Lippa, directed by Pamela Berlin; FAST WOMEN by Willie Reale, directed by W.H. Macy; TWO
HOT DOGS WITH EVERYTHING by William Wise, directed by Richard Russell Ramos. May
4-June 20, 1983.
Equity Library Theater. Actors' Equity sponsors a series of revivals each season as
showcases for the work of actor-members and an "informal series" of original, unproduced
material. George Wojtasik, managing director.
NOT NOW, DARLING by Ray Cooney and John Chapman. September 23, 1982. Directed by
William Koch; with Robert Lydiard, Richard Portnow, Frederick Walters, Jane Culley, Rusty
Riegelman, Marilyn Alex, Harry Bennett.
NEW FACES OF '52 (revue). October 28, 1982. Directed by Joseph Patton; with Randy
Brenner, Suzanne Dawson, Jack Doyle, Michael Ehlers, Lillian Graff, Anna Marie Gutierrez,
Philip Wm. McKinley, Roxann Parker, Michele Pigliavento, Alan Safier, Denise Schafer, Staci
Swedeen, Michael Waldron.
WHO'LL SAVE THE PLOWBOY? by Frank D. Gilroy. December 2, 1982. Directed by Stephen
Jarrett; with Hardy Rawls, Suzanne Toren, Michael Rothhaar, Emmett O'Sullivan-Moore, Mar-
tha Miller, Jon Mindell, Kirk Caliendo.
THE ROBBER BRIDEGROOM (musical) book and lyrics by Alfred Uhry, music by Robert
Waldman; based on the novella by Eudora Welty. January 6, 1983. Directed by Richard Cas-
per; with Stephen Crain, Libby Garten, Carolyn Marlow, Michael McCarty, Patrick Richwood.
HAPPY BIRTHDAY, WANDA JUNE by Kurt Vonnegut Jr. February 10, 1983. Directed by
Elowyn Castle; with Joyce Cohen, Mark Ballou, Dale Place, James Mathers, David Adam-
son, Ward Asquith, Richard Voigts, Marcia Savella, Victoria Gabrielle Piatt.
WHERE'S CHARLEY? (musical) book by George Abbott, music and lyrics by Frank
Loesser; based on Brandon Thomas's Charley's Aunt. March 10, 1983. Directed by Dennis
Grimaldi; with Charles Abbott, Austin Colyer, Virginia Seidel, Marin Mazzie, Don Moran,
William McClary, Clayton Davis, Byron Conner.
THE CHANGELING by Thomas Middleton and William Rowley. April 14, 1983. Directed by
Thomas Edward West; with Ken Costigan, Alan Brooks, Christopher Stafford Nelson, Lisa
Bansavage, Myra Morris, Kim Ivan Motter, Jesse Caldwell.
PROMISES, PROMISES (musical) book by Neil Simon, music by Burt Bacharach, lyrics by Hal
David; based on the screenplay The Apartment by Billy Wilder and I.A.L. Diamond. May 12,
1983. Directed by Alan Fox; with Gordon Lockwood, Lew Resseguie, Beth Leavel, C.J.
Critt, Lorena Palacios, Larry Hirschhorn.
Informal Series: 3 performances each
TAKING IN THE GRAVE OUTDOORS: THE KESTREL, THE BIRDS and THE BEES
(one-act plays) by Ted Enik. September 20, 1982. Directed by Kip Rosser; with Jeffrey Bing-
ham, Terrence Markovich, Brian Rosnik, Jill Tomarken, Susan Blommaert.
MY EARLY YEARS by Charles Leipart. October 18, 1982. Directed by Pat McCorkle; with
Alice Elliott, Tom Toner.
NOBODY'S PERFECT (musical) book by Ron Sproat, music by Earl Rose, lyrics by Frank
Evans. November 22, 1982. Directed by J. Barry Lewis; with Doug McQueen, Peggy
Stamper, Marilyn Pasekoff, James Harder, Joe S. Wyatt.
DREAMBOATS by Irene Wagner. December 13, 1982. Directed by Lise Liepmann; with Ken
Rubenfeld, Avery Hart, Doug Popper, Paul Mantell, Dale Place, Davis Hall, Edwin Gur, David
Carson.
PLAYS PRODUCED OFF OFF BROADWAY 415
LEAD US NOT INTO PENN STATION by Maura Swanson. January 17, 1983. Directed by
Darlene Kaplan; with Alice Elizabeth Pearl, Jo Deodato Clark, Warren Keith.
LOOSE JOINTS (musical revue) by Jim Morgan. February 14, 1983. Directed by Bill Gile; with
Sara Kreiger, Barbara Marineau, Diana Szlosberg, William Thomas Jr., Eric Weitz.
SHARING by James Van Maanen. March 14, 1983. Directed by Stuart Ross; with John Patrick
Hurley, Gene Lindsey, Tom Gerard, David Wirth.
INDEPENDENT STUDY by Don Rifkin. April 25, 1983. Directed by Duane Sidden; with Brian
Keeler, Neil Alexander, Elf Fairservis, Julia Murray.
MEDUSA IN THE SUBURBS by David Steven Rappoport and LE PETIT MORT by Stephen
Essex (one-act plays). May 9, 1983. Directed by Julie Cesari; with Richard M. Tanner, Frances
Ford, Anne Chapin, Lou Bonacki.
Gene Frankel Theater Workshop. Development of new works and revivals for the theater.
Gene Frankel, artistic director.
UNEASY LIES (16). By Andrew Glaze. March 4, 1983. Director, Susann Brinkley; lighting,
Bernadette Englert; costumes, Jeff Wolz. With Adriana Keathley, Lois Meredith.
Hudson Guild Theater, Presents plays in their New York, American, or world premieres.
David Kerry Heefner, producing director, Daniel Swee, general manager.
HOOTERS by Ted Tally. October 13, 1982. Directed by David Kerry Heefner; with Griffin
Dunne, Paul McCrane, Susan Greenhill, Polly Draper.
28 performances each
BREAKFAST WITH LES AND BESS. By Lee Kalcheim. November 23, 1982. Director, Barnet
Kellman; scenery, Dean Tschetter; lighting, Ian Calderon; costumes, Timothy Dunleavy. With
Holland Taylor, Keith Charles, Amy Wright, Tom Nolan, John Leonard, Daniel Ziskie.
BLOOD RELATIONS. By Sharon Pollock. February 2, 1983. Director, David Kerry
Heefner; scenery, Ron Placzek; lighting, Paul Wonsek; costumes, Mariann Verheyen. With Kath-
leen Chalfant, Maurice Copeland, Marti Maraden, Gerald Quimby, Sloane Shelton, Adrian
Sparks, Jennifer Sternberg.
SUS. By Barrie Keeffe. April 6, 1983. Director, Geoffrey Sherman; scenery and lighting, Paul
Wonsek; costumes, Barbara Hladsky. With Terry Alexander, John Curless, David Leary.
INTAR. Innovative culture center for the Hispanic American community of New York
City, focusing on the art of theater. Max Ferra, artistic director, Dennis Ferguson-
Acosta, managing director.
EXILES (16). Musical by Ana Maria Simo; music, Elliot Sokolov, Louis Milgrom. December 9,
1982. Director, Maria Irene Fornes; scenery, Carlos Almada and Paulette Crowther; lighting,
Edward M. Greenberg; costumes, Gabriel Berry. With Nicole Baptiste, Jose Febus, Maria
Garcia, Anita Keal, Karen Ludwig, Jose Antonio Maldonado, Rebecca Schull.
UNION CITY THANKSGIVING (35). By Manuel Martin Jr. March 9, 1983. Director, Andre
Ernotte; scenery, Michael Sharp; lighting, Rachel Budin; costumes, Karen Matthews. With Marge
Aviles, Miriam Cruz, Emilio Del Pozo, Caren More, Diva Osorio, Marcelino Rivera, Nestor
Serrano, Regina Suarez.
THE SENORITA FROM TACNA (40). By Mario Vargas Llosa. May 25, 1983. Director,
Michael Kahn; scenery, Loren Sherman; lighting, Rachel Budin; costumes, Deborah Shaw. With
Norman Briski, Emilio Del Pozo, Anthony Ferrer, Olga Merediz, Ruben Pla, Jaime Sanchez,
Christina SanJuan, Susan Stevens, Maria Tucci.
Interart Theater. A professional environment primarily for women playwrights, directors,
designers, and performers to participate in theatrical activity. Margot Lewitin, artistic
director, Colette Brooks, associate artistic director.
LAMAMA ETC— Thomas Ikeda, Harris Yulin and Du Yee
Chang in a scene from Barnum's Last Life by Richard Ploetz
MERCENARIES (50). By James Yoshimura. June 9, 1982. Director, Margot Lewitin; drama-
turg, Colette Brooks; scenery, Kate Edmunds; lighting, Ann Wrightson; costumes, Kate Ed-
munds, Tom McAlister. With Reg E. Cathey, Andrew Davis, Kenneth Ryan, William Win-
kler, Roger Brown, Anna Deavere Smith, L.B. Williams, Jeffrey Joseph.
GROWING UP GOTHIC (12). By Claire Coss. January 6, 1983. Director, Margot Lewitin;
scenery and costumes, Christina Weppner; lighting, Rachel Budin. With Joyce Aaron, George
Bartenieflf, Crystal Field, Chris Tanner.
FISH RIDING BIKES (60). By Claire Luckham. May 6, 1983. Director, Denise A. Gordon;
dramaturg, Colette Brooks; scenery and costumes, Christina Weppner; lighting, David N.
Weiss; music. Skip LaPlante. With Melissa Smith, Anita Keal, Rebecca Nelson, Anneke
Gough, Anne Barclay, JoAnne Jacobson, Mary Van Dyke, Caris Corfman.
LaMama Experimental Theater Club (ETC). A busy workshop for experimental theater
of all kinds. Ellen Stewart, founder, Wesley Jensby, artistic director.
Schedule included:
RED SNOW. Written and directed by Du Yee Chang. June 1, 1982.
OLYMPIC MAN MOVEMENT. By Els Joglars (Catalan Theater Group). June 15, 1982. Direc-
tor, Albert Boadella; scenery, J.M. Ibanez; lighting, sound and electronic systems, Jordi
Costa, J.M. Ibanez and Ramon de la Torre; costumes, J.M. Turrell; music, J.M. Av-
rizabalaga. With Jesus Agelet, Anna Barder, Jordi Cano, Alicia Escurriola, Jaume Sorribas, Jordi
Martinez, Ingrid Riera.
MONEY: A JAZZ OPERA (fragments). By George Gruntz and Amiri Baraka; music, George
Gruntz. July 2, 1982. Director, George Ferencz.
PLAYS PRODUCED OFF OFF BROADWAY 417
SPIEGELS. Created by Ban Stu>f Movement Group of the Netherlands. July 13. 1982.
THE LIBERATION OF SKOPJE. By Dusan JovanoMc. September 16, 1982. Director. Ljubisa
Ristic; scenery. Dmka JenceMc; hghtmg. Damir Kruhak; costumes. Visnja Postic: music. Bread
and Salt. With the Zagreb Theater Company (co- product ion with and performed outdoors at
Cathedral of St. John the Dnine).
ANNA INTO NTGHTLIGHT Created and directed by Ping Cheng. October 1, 1982. Scenery,
Ping Chong. Deborah Cohen; lighting. Blu; costumes. Kim Druce: narrators, Roger Babb. Kay
Mines; cinematographer and editor. David Gearey. With L. Smith. Wendelien Haseman. Betty
Chong. John Flemmg. Tobey Sanford. David Wolpe. Colette Berge.
THE THREE TROWELS OF ALADDIN WITH THE M.\GIC LAMP (chamber opera). Con-
ceived, directed and designed by Francoise Grund; music. Elizabeth Sv^ados. October 13. 1982.
Scenery. Jun Maeda. EVonald Eastman; hghting. Ann Militello; costumes. Aline Landais; special
designs, Jun Maeda, '^'oshihico Tanaka. With Larry Marshall, Michael Ed ward-Sle\ ens, Endo
Suanda, Youn Cho Park.
N.A.ROP.\ By Jean-Claude van Itallie. October 27, 1982. Directors, Ching Yeh, Michael
Brody; music. Steve Gom. With Zignal 1 Theater.
SE.^NCE. Wntten and directed by Cecile Guidote-.\lvarez. November 6, 1982. Music. Lutgardo
Labad. With PET.A.L (Phihppine Educational Theater .A.ns League).
ANDRE.A.'S GOT TWO BOYFRIENDS. Wntten and directed by David Willinger. November
24. 1982.
COME DOG. COME NIGHT By Bernard-Mane Koltes. translated by Matthev* Ward Decem-
ber 7. 1982. Director. Francoise Kounlsky; scenery, Robeno Moscoso: hghtmg, Beverly Em-
mons. ^^'lth Louis Zorich, Afemo, Barbara Eda- Young, Ron Frazier (co-production ^ith L*bu
Repenors Theater).
A PETICION DEL PUBLICO By Franz Xaver Kroetz. December 26. 1982. Director. Elia
Schneider; music. Juan Carlos Nunez. With Teatro Dramma.
AN EVENING. .\N AFTERNOON. Book and lyncs. Tad Truesdale: music. J Hamilton
Grandison. January 1. 1983. Directed by and vmth Tad Truesdale.
THE TIBETAN BOOK OF THE DEAD. OR HOW NOT TO DO IT AGAIN. By Jean-Claude
van Itallie. January 11. 1983. Director. Assurbanipal Babilla; music. Steve Gom: scenery. Jun
Maeda: lighting. Blu: costumes, Gabnel Berry. With Cnstobal Carambo. Kevin O'Meara. Hoo-
shang Touzie. Ching Valdes. Robinson Youngblood. Du Yee Chang. Susan Deihim.
FANTASIES OF PUSHKIN v^niten and directed by Edv^ard Staroselsky January 19, 1983.
RESIDENT .A.LIEN. By Mananne Marcellin. Januar> 2". 1983. Director. Katherine Ada-
mov; scenen.. Charhe Mangel; music. Guy Klucevsek. With Mananne Marcelhn. Guy Klu-
cevsek.
THE AMERICAN MYSTERIES. Wntten and directed by Matthev^ Maguire. February 3. 1983.
Music. Glenn Branca. Vito Ricci. Clodagh Simonds; landscape designer. Elizabeth Diller.
LETS ST.A.RT .A M.A.G.\ZINE. Based on poems of e.e. cummings^. February 16, 1983. With
.■\ Hard Werken Netherlands .A.ssociation.
BURNING HEART. Wntten and directed by Roger Babb. March 3. 1983. Music. Neal
Kirkv^ood. With the Otrabanda Company.
LIES .A.ND SECRETS (collaborative chamber theater piece). By and vnth the Other Thea-
ter; music. Peter Golub. March 10. 1983. Director, Joseph Chaikin.
BARNUMS LAST LIFE By Richard Ploeiz Apnl 1. 1983 Director. Paul Lazarus: scener>.
Keith Gonzales; lighting. Rick Butler; costumes. Karen Hummel. With Hams Yulin. Brent
Collins, Shanta Hunt. Daniel Leventntt. Paul LaGreca. Don Plumley. Thomas Ikeda. Du-Yee
Chang.
HOT LUNCH APOSTLES By Sidney Goldfarb Apnl 1. 1983. Director. Paul Zimet; music.
Sybille Hayn. Ellen Maddow. Harry Mann. With The Talking Band.
PLAGUES FOR OUR TIME Book and lyncs. Eve Memam: music and directed by Tom
O'Horgan. .\pnl 1. 1983. Scenery. Bill Stabile; costumes. Gabnel Berry.
I DIED YESTERDAY By Nick Markovich. Apnl 21. 1983. Director. Roben Speller.
GOODBYE GOODBYE. By Rina Yerushalmi. in collaboration vkith Jonathan Paul Brasuell,
.A.my Breniano. Stephen Grafenstine, Terry Knickerbocker. Kevin Kuhlke. Jessica Litwak.
Wendy vanden Heuvel. and Jo L. Wadswonh. .A.pnl 28. 1983. Music. Gerald Bushy; scenery.
Hank Stevens; lighting. Manny Cavaco: costumes. Mane .A.nn Chiment. With Jonathan Paul
418 THE BEST PLAYS OF 1982-1983
Brasuell, Amy Brentano, Stephen Grafenstine, Terry Knickerbocker, Kevin Kuhlke, Jessica
Litwak, Wendy vanden Heuvel, Jo L. Wadsworth.
EMOTION (one-man show). By and with Min Tanaka. May 13, 1983.
TANGO GLACIALE. Conceived and directed by Mario Martone. May 17, 1983. Scenery, Mario
Martone; design. Lino Fiorito; costumes, Ravelle; cartoons, Daniele BigUardo. With Tomas
Arana, Licia MagUetta, Andrea Renzi.
JADE. Written and directed by Mel Wong; music, Skip LaPlante. May 20, 1983.
CONJUR WOMAN. By Beatrice Manley-Blau. May 25, 1983. Director, George Ferencz.
IN THE BEGINNING . . . LUCIFER . . . THE BIBLE written and directed by Esteban
Fernandez Sanchez. May 25, 1983.
Lion Theater Company. Actors' company with an eclectic repertory. Gene Nye, artistic
director, David Craven, managing director.
MACBETH by William Shakespeare. April 22, 1983; in repertory with EDWARD II by Bertolt
Brecht, English version by Eric Bentley. May 6, 1983. Directed by Gene Nye; with Maria
Cellario, Giancarlo Esposito, Michael Golding, Robyn Hatcher, Robert Hock, Charles John-
son, Alice King, Casey Korda, James Lieb, Barry Malawer, Gene Nye, Albert Owens, Steve
Pudenz, Chip Richman, Ennis Smith, Daniel Whitner, Ronald Willoughby, Nan Wray.
Manhattan Punch Line. Comedy theater. Steve Kaplan, Mitch McGuire, Jerry Hey-
mann, Richard Erickson, producing directors.
20 performances each
IT'S ONLY A PLAY. By Terrence McNally. November 18, 1982. Director, Paul Benedict;
scenery, Bob Phillips; lighting, Ruth Roberts; costumes, Judianna Makovsky. With Reg E.
Cathey, Frances Cuka, Paul Guilfoyle, Ken Kliban, Jill Larson, Richard Leighton, Harriet
Rogers, Michael Sacks.
WITHOUT WILLIE. By Barrie Cockburn. February 3, 1983. Director, Jerry Heymann; scenery,
John Wright Stevens; lighting, Gregory MacPherson; costumes, Oleksa. With Lamis Beasley
Faris, Joan Lorring, Loris Sallahian, John Milligan, David Khouri.
THE BUTTER AND EGG MAN by George S. Kaufman. December 16, 1982. Directed by Steve
Kaplan; with Tom Costello, Mitch McGuire, Mary Boucher, Valerie Mahaffey, Louise
Shaffer, Terry Layman, Neal Alan Lerner, James Hawthorne, Doug Baldwin, Therese Hanly,
Kathryn King Segal, Kelly Connell, Robert McFarland.
COMEDIANS by Trevor Griffiths. April 14, 1983. Directed by Munson Hicks; with Tim
Choate, Tom Costello, Joseph Daly, Arthur Erickson, Gladys Fleischman, Sam McMurray, Tony
Noll, Alan North, Stefan Weyte.
Manhattan Theater Club. A producing organization with stages for fully-mounted off-
Broadway productions, readings, workshop activities and cabaret. Lynne Meadow, artistic
director, Barry Grove, managing director.
Special Event
DON'T START ME TALKIN' OR I'LL TELL EVERYTHING I KNOW (sayings from the
life and writings of Junebug Jabbo Jones). By John O'Neal with Ron Castine and Glenda
Lindsay. November 9, 1982. Director, Steven Kent. With John O'Neal.
MTC After Hours series (cabaret)
ABOUT FACE (10). Conceived, written and performed by Stephanie Cotsirilos. February 25,
1983. Musical director, Cheryl Hard wick.
A VAUDEVILLE (6). By Camille Saviola and Peter Dallas. March 10, 1983. Director, Peter
Dallas; musical director. Marc Shaiman. With Camille Saviola.
NEW TUNES (6). Lyrics, Alan Mark Poul; music, Jonathan ShefTer. March 25, 1983. Director,
Alan Mark Poul. With David-James Carroll, Terri Klausner.
PLAYS PRODUCED OFF OFF BROADWAY 419
New Dramatists. An organization devoted to playwrights; member writers may use the
facilities for anything from private cold readings of their material to public script-in-hand
readings. Casey Childs, program director.
Staged readings
ONLY CONNECT by Eric Anderson. October 4, 1982. Directed by Scott Rubsam; with James
Strafford, Steven Keyes.
SIGNS OF LIFE by Joan Schenkar. November 3, 1982. Directed by Susan Gregg; with Barton
Heyman, John Wylie, Ian Thomson, Deidre O'Connell, Gale Garnett, Sara Botsford.
MAGGIE MAGALITA by Wendy Kesselman. November 10, 1982. Directed by Carole
Rothman; with Trini Alvarado, Alma Cuervo, Teresa Yenque, Bernie Telsey.
APRIL SNOW by Romulus Linney. December 1, 1982. Directed by M. Elizabeth Osborn; with
Leon Russom, Kent Broadhurst, Nancy Franklin, Kent Thompson, Kari Jenson.
THE FULL CIRCLE OF THE TRAVELLING SQUIRREL by Robert Lord. December 8, 1982.
Directed by Jack Hofsiss; with Mark Blum, Priscilla Lopez, Richard Cox, Kevin Bacon, Dorothy
Lyman, Tom Cashin.
THE EDUCATION OF PAUL BUNYAN by Barbara Field. December 13, 1982. Directed by
Robert Moss; with Keith McDermott, Chuck Allen, Michael Morin, Quincy Long, Christopher
Wells, Greg Bostwick.
HIS MASTER'S VOICE by Dick D. Zigun. December 15, 1982. Directed by Susan Gregg; with
Todd Stockman, Deidre O'Connell, William Preston, Michael Harres, Mary Ellinger.
EINSTEIN IN IXTLAN by Scott Christopher Wren. January 10, 1983. Directed by Scott
Rubsam; with Kensyn Crouch, Natalie Strauss, Jean Barker, Ken Grantham, Bill McNulty,
Eleanor Garth, Helen Jean Arthur, Dick D. Zigun.
CIVILIZATION & ITS MALCONTENTS and ARISTOTLE SAID (one-act plays) by Stanley
Taikeff. January 19, 1983. Directed by Thomas Gruenewald; with Linda Selman, Nicholas
Kepros, Socorro Santiago, Colgate Salsbury.
THE BATHERS by Victor Steinbach. February 2, 1983. Directed by Steven Robman; with Yusef
Bulos, Paul Sparer, Fred Coffin, Philip Bosco.
KID PURPLE by Donald Wollner. February 16, 1983. Directed by Dallas Murphy Jr; with
Royce Rich, Linda Selman, Loren Brown, Elaine Rinehart, Willie Carpenter, John McCurry.
CARRIE AND NELL by Tom Dunn. February 20, 1983. Directed by Susan Gregg; with Helen
Jean Arthur, Joseph Warren, Anna Minot.
GYM RATS by Farrell J. Foreman. Februar>' 21, 1983. Directed by Gus Edwards; with Jim
Doerr, Leonard Jackson, Charles Michael Brown, Ken Kliban, Alvin Alexis, Nick Smith.
WELCOME TO SODOM AND GOMORRAH by Daniel Du Plantis. February 22, 1983.
Directed by Steve Carter; with Michael Morin, Graham Brown.
NO MORE SUMMERS by Brenda Faye Collie. February 23, 1983. Directed by Alma
Becker; with Carl Gordon, Frances Foster, Mac Randall.
HIDDEN PARTS by Lynne Alvarez. March 2, 1983. Directed by Harvey Seifter; with Tom
McDermott, Mary Alan Hokanson, Pamela Pascoe, Jerry Finnegan.
GYM RATS by Farrell J. Foreman. March 5, 1983. Directed by Casey Childs; with Jim
Doerr, Bill Cobbs, Brent Jennings, Ken Kliban, Alvin Alexis, Nick Smith, Kent Gash.
PARTIAL OBJECTS by Sherry Kramer. March 16, 1983. Directed by Jim Milton; with Michael
Morin, John Getz, Robin Karfo, Carlisle Stockton, Gretchen Van Ryper.
HOSS DRAWIN' and BILLY CHOPS BRICK by Leon Martell. March 21, 1983. Directed by
Alma Becker; with Elizabeth Ruscio, Chuck Allen, Jack R. Marks, Preston Keith Smith, Leon
Martell.
THE MUSEUM OF OLDE TYME LIFE by Warren Kliewer. March 24, 1983. Directed by
Gideon Schein; with Lyn Tyrrell, Bob Horan, J. Smith Cameron.
TENEMENT by Gus Edwards. March 30, 1983. Directed by Bob Engels; with Robyn
Hatcher, Rony Clanton, Dennis Tate, Marilyn Berry, Willie Carpenter, Thelma Louise
Carter, Sharon Shambourger, Jason Fitz-Gerald.
OHIO TIP-OFF by James Yoshimura. April 13, 1983. Directed by Charles Edward Shain; with
Tony Todd, Richard Brooks, Robert Frederick, Sturgis Warner, Allen Taylor, Joseph Wig-
fall, Daniel Barton, Peter Waldron.
CHOPIN IN SPACE by Philip Bosakowski. April 19, 1983. Directed by Robert Hall; with
420 THE BEST PLAYS OF 1982-1983
Kenneth Kurtenbach, Stephanie Musnik, Michael Morin, Dolores Kenan, John P. Connolly,
Corrine Mandell.
INFERNO by John Patrick Shanley. April 27, 1983. Directed by Susan Gregg.
FLIES IN THE BUTTERMILK by Steven Levi. May 11, 1983. Directed by Thomas
Gruenewald.
BEYOND HERE ARE MONSTERS by James Nicholson. May 18, 1983. Directed by Gideon
Schein.
JACINTA by Peter Dee. May 25, 1983. Directed by Susan Gregg.
New Federal Theater. The Henry Street Settlement's training and showcase unit for
playwrights, mostly black and Puerto Rican. Woodie King Jr., producer.
LOVE (poems of Carolyn M. Rodgers) (12). Conceived and directed by Shauneille Perry. June
3, 1982. Scenery, Robert Edmonds; hghting, Sandra Ross; costumes, Judy Dearing. With Yvette
Hawkins, Andrew Robinson Jr., Leone Thomas, Judy Dearing.
SHANGO DIASPORA by Angela Jackson, music by Eli Hoenai. July 9, 1982. Directed by Abena
Joan Brown; with Leslie A. Benoit, Linda Bright, Soyini Dyson, Runako Jahi, Gwen Lester.
JAZZ SET (12). By Ron Milner. July 15, 1982. Director, Norman Riley; music. Max Roach;
scenery, Robert Edmonds; lighting, Shirley Prendergast; costumes, Judy Dearing. With S. Epatha
Merkerson, William Kennedy, E.L. James, Rony Clanton, Mansoor Najee-Ullah, Nick
Smith.
PORTRAIT OF JENNIE (7). Adapted by Enid Futterman and Dennis Rosa from Robert
Nathan's novel; music, Howard Marren; lyrics, Enid Futterman. December 10, 1982. Director
and choreographer, Dennis Rosa; musical director, Uel Wade; scenery, Michael H. Yeargan;
lighting, Jeff Davis; costumes, Charles Schoonmaker. With Donna Bullock, Stratton Walling,
Brent Barrett, Paul Milikin, Maggie O'Connell, Karyn Lynn Dale, David Wohl, Brian
Phipps, John Bedford- Lloyd.
THE UPPER DEPTHS (9). By David Steven Rappoport. December 3, 1982. Director, Robert
Kalfin; scenery. Bob Edmonds; lighting, John Tomlinson; costumes, Judy Dearing. With Rikke
Borge, Marilyn Chris, Meg Guttman, Elizabeth Longo, Bill Mooney, Steven Gary Simon. (Co-
produced by Chelsea Theater Center.)
ADAM (12). Book, June Tansey; music and lyrics, Richard Ahlert. January 20, 1983. Director,
Don Evans; choreography and musical staging, Dianne Mclntyre; scenery, Llewellyn Harri-
son; lighting, Shirley Prendergast; costumes, Judy Dearing. With Reuben Green, Jackee
Harry, Frederick Beals, Hugh Harrell III, Raymond Stough, Jim Keels, Bill Boss, Randy
Flood, Rosetta Jefferson, S. Epatha Merkerson.
CHAMPEEN! (23). Book, music, lyrics, and director, Melvin Van Peebles. March 18, 1983.
Choreographer, Louis Johnson; musical director, Bob Carten; scenery, Chris Thomas, Bob
Edmonds; lighting, Shirley Prendergast; costumes. Quay Truitt. With Sandra Reaves-Phillips,
Ruth Brown, David Connell, Lawrence Vincent, Ted Ross.
LIBERTY CALL (12). By Buriel Clay. March 31, 1983. Director, Samm-Art Williams; scenery
and lighting, Llewellyn Harrison; costumes, Karen Perry. With Samm-Art Williams, Nick
Smith, Michael Jameson, Dale Shields, Danyl Smith, Lilah Kan, Machiko Izawa, Constance
Boardman, Khin-Kyaw Maung.
TRIO (program of three one-act plays) (12). By Bill Harris. April 28, 1983. Director, Nathan
George; scenery, Llewellyn Harrison; lighting, Dewarren Moses; costumes, Vicki Jones. With Otis
Young-Smith, Minnie Gentry, LeeRoy Giles, Myra Anderson, Ellis Williams, Barbara Smith,
Obaka Adedunyo, S. Epatha Merkerson, Adetobi Akinloye.
THE WILDERNESS OF SHUR (12). By Nicholas Biel. May 5, 1983. Director Gordon
Edelstein; scenery and lighting. Dale Jordan; costumes. Penny Howell; projections, Nora
Jacobson. With Ron Foster, Reuben Schafer, Jon Krupp, Kelly Monaghan, Judy Tate, Rosemary
Foley, Evan Thompson, David James Forsyth, William Walsh, Phillip Lindsay, Hubert B. Kelly
Jr., Reg E. Cathey.
PLAYS PRODUCED OFF OFF BROADWAY 421
New York Shakespeare Festival Public Theater. Schedule of workshop productions and
guest residencies, in addition to its regular productions. Joseph Papp, producer.
RUMBA (work-in-progress) by Leopoldo Fleming. June 28, 1982. Directed by Poli Rogers; with
Elaine Beener, Lady Helena Walquer, Raul Ramos, Dean Badarou, Willie Barnes.
MEN INSIDE and VOICES OF AMERICA (solo pieces) (4). By and with Eric Bogosian. July
8, 1982. Lighting and sound, John Gibson. (Reopened September 9, 1982 for 9 performances.)
In Repertory:
WHAT EVERYWOMAN KNOWS (21). By Tulis McCall, in collaboration with Nancy-
Elizabeth Kammer. August 10, 1982. Scenery, Jesse Rosenthal; lighting, Allen Lee Hughes;
costumes, Elena Pellicciaro. With Tulis McCall.
UNCLE VANYA by Anton Chekhov, translated by Ann Dunnigan. Directed by Peter Von
Berg; with Louise Campbell, Colin Garrey, James Maxon, Charles Duval, Nancy-Elizabeth
Kammer, Joe Parisi, Anna Galiena, Muriel Mason, Michael Sullivan.
NECESSARY ENDS (20). By Marvin Cohen. December 12, 1982. Director, James Milton;
scenery, Jim Clayburgh; lighting, John Gisondi; costumes, Amanda J. Klein; music, Robert
Dennis. With Alma Cuervo, Larry Pine, Gretchen Van Ryper, Bill Sadler.
Mabou Mines Productions:
COMPANY (20). By Samuel Beckett. January 7, 1983. Directors, Honora Fergusson, Frederick
Neumann; scenery, Gerald Marks; lighting, Craig Miller; music, Philip Glass. With Honora
Fergusson, Frederick Neumann.
COLD HARBOR (63). Conceived and directed by Bill Raymond and Dale Worsley, text by Dale
Worsley with excerpts from the memoirs of Ulysses S. Grant and Julia Dent Grant. February 22,
1983. Scenery, Linda Hartinian; lighting, B-St. John Schofield; costumes, Greg Mehrten; music,
Philip Glass; projections, Stephanie Rudolph. With Bill Raymond, Greg Mehrten, B-St. John
Schofield, Ellen McElduff, Terry O'Reilly.
HAJJ (22) (performance poem). Conceived in collaboration by Ruth Maleczech, performer; poem
and direction, Lee Breuer; design, Julie Archer; music, Chris Abajian; video, Craig Jones. April
29, 1983.
GOODNIGHT LADIES! (21). By the Hesitate and Demonstrate Company. June 3, 1983. Light-
ing, Tom Donnellan; sound, John Darling. With Lizza Aiken, Alex Mavro, Andrzej Borkow-
ski. Rick Fisher.
No Smoking Playhouse. Emphasis on new plays and adaptation of classics, stressing the
comedic. Norman Thomas Marshall, artistic director.
DICK DETERRED (19). Books and lyrics, David Edgar; music, William Schimmel. January 13,
1983. Director, George Wolf Reiiy; choreographer, Mary Pat Henry; scenery, Ted Reinert and
Beate Kessler; lighting, Leslie Ann Kilian; costumes, Maria Kaye. With Steve Pudenz, Malcolm
Gray, Ted Reinert, Richard Litt. Mary Kay Dean, Carl Williams, Sylvester Rich, Elf Fair-
servis, Rhonda Rose.
JULIUS CAESAR by William Shakespeare. April 24, 1983. Directed by George Wolf Reily; with
Adam Redfield, Darryl Croxton, Marc Krone, Ted Reinert, Caroline Meade, Mary Kay
Dean, Sylvester Rich.
SHAKESPEARE MARATHON (fully-staged readings of 37 of William Shakespeare's plays).
May 19-23, 1983.
The Open Space Theater Experiment. Emphasis on experimental works. Lynn Mich-
aels, Harry Baum, directors.
THE TWO-CHARACTER PLAY by Tennessee Williams. October 16, 1982. Directed by Tom
Brennan; with Austin Pendleton, Barbara Eda- Young.
IN THE COUNTRY (20). By Griselda Gambaro, adapted and translated by Francoise Kou-
rilsky and Susana Meyer. April 6, 1983. Director, Francoise Kourilsky; scenery, Beth Kuhn;
OPEN SPACE THEATER EXPERIMENT— Douglass Watson, Leslie
Lyles and Ken Chapin in Upside Down on the Handlebars by Leslie Weiner
lighting, Gregory MacPherson; costumes, Deborah Van Wetering; music, Michael Sirotta. With
Colette Berge, James Eckhouse, Adam Le Fevre, Daniel Ziskie, Emmanuel Dom, Eric Hall, Tom
Radigan.
UPSIDE DOWN ON THE HANDLEBARS (16). By Leslie Werner. May 18, 1983. Director,
Salem Ludwig; scenery, Bob Phillips; lighting, Richard Dorfman; costumes, Barbara Weiss. With
Douglass Watson, Tom Amick, Ken Chapin, Robert Heller, Jacqueline Knapp, Leslie Lyles, Rick
Weatherwax.
The Garret of the Open Space
THE CREATION OF THE WORLD AND ITS TRUE MEANING and PLAYING WITH
FIRE (16). By August Strindberg, translated by Harry G. Carlson. November 18, 1982. Director,
Susan Einhorn; scenery, Johnienne Papandreas; lighting, Ann Wrightson; costumes, Muriel
Stockdale. With Bonnie Brewster, Wilham Garden, Bernie Passeltiner, Lucille Patton, John
Gould-Rubin, Keliher Walsh.
MIRANDOLINA by Carlo Goldoni. February 10, 1983. Adapted and directed by Jonathan
Amacker; with Tom Vazzana, Patrick Skelton, Jonathan Epstein, Denise Assante, Jonathan
Amacker.
THE RUFFIAN ON THE STAIR by Joe Orton. May 12, 1983. Directed by Rosemary
Hay; with Rudi Caporaso, Laura Copland, Leon Russom.
Pan Asian Repertory Theater. Aims to present professional productions which employ
Asian American theater artists, to encourage new plays which explore Asian American
themes, and to combine traditional elements of Far Eastern theater with Western theatrical
techniques. Tisa Chang, artistic director.
PLAYS PRODUCED OFF OFF BROADWAY 423
YELLOW FEVER (58). By R.A. Shiomi, story co-conceived by Marc Hayashi. December 1,
1982. Director, Raul Aranas; scenery, Christopher Stapleton; lighting. Dawn Chiang; costumes,
Lillian Pan. With Donald Li, Carol A. Honda, James Jenner, Henry Yuk, Freda Foh Shen, Jeffrey
Spolan, Ernest Abuba.
TEAHOUSE (22). By Lao She, translated by Ying Rocheng and John Howard-Gibbon. March
17, 1983. Director, Tisa Chang; scenery, Atsushi Moriyasu; lighting, Victor En Yu Tan; costumes,
Eiko Yamaguchi. With Henry Yuk, Ernest Abuba, Tom Matsusaka, Alvin Lum, Michael G.
Chin, Donald Li, Mel D. Gionson, Natsuko Ohama, Lynette Chun, Ron Nakahara, Toshi
Toda, William Hao.
A MIDSUMMER NIGHT'S DREAM by William Shakespeare, Chinese translation by Liang Shi
Chiu. April 15, 1983. Directed by Tisa Chang; with Jodi Long, Lu Yu, Yung Yung Tsuai, Ron
Nakahara, Tina Chen, Elizabeth Sung.
Playwrights Horizons. Dedicated to the development of American playwrights, compos-
ers and lyricists through the production of their work in readings, workshops and full-scale
productions. Andre Bishop, artistic director.
THE RISE AND RISE OF DANIEL ROCKET (32). By Peter Parnell. November 17, 1982.
Director, Gerald Gutierrez; scenery, Andrew Jackness; lighting, James F. Ingalls; costumes, Ann
Emonts; incidental music, Robert Waldman. With Thomas Hulce, Jack Gilpin, Ann McDo-
nough, James Eckhouse, Shelley Rogers, Tom Robbins, Scott Waara, Kathryn C Sparer, Jane
Jones, Jane Connell.
THE TRANSFIGURATION OF BENNO BLIMPIE written and directed by Albert In-
naurato. March 9, 1983. With Peter Evans, Clement Fowler, Natalija Nogulich, Jane Hickey,
Jay Thomas.
Puerto Rican Travelling Theater. Professional company presenting bilingual productions
primarily of Puerto Rican and Hispanic playwrights, emphasizing subjects of relevance
today. Miriam Colon Edgar, founder and producer.
THE STORY OF DON CRISTOBAL and THE LOVE OF DON PERLIMPLIN AND BELISA
IN THE GARDEN by Federico Garcia Lorca. August 6, 1982. Directed by Victoria Es-
pinosa; with Brenda Feliciano, Tony Diaz, Carlos Augusto Cestero, Norberto Kerner, Ricardo
Matamoros, Ilka Tanya Payan, Iraida Polanco, Noemi Figueroa, Wilson Florenciani.
INQUISITION (12-f-). By Fernando Arrabal, translated by Gregory Rabassa. January 26, 1983.
Director, Fernando Arrabal; scenery, Reagan Cook; lighting, John Tissot; costumes, Nancy
Thun. With Ilka Tanya Payan, Hugo Halbrich, George Bass.
THE GREAT CONFESSION (12 + ). By Sergio De Cecco and Armando Chulak, translated by
Pilar Zalamea. March 9, 1983. Director, Max Ferra; scenery, Loren Sherman; lighting, Gary D.
Cooper; costumes, Deborah Shaw. With Lillian Hurst, Jose Maldonado, Carlos Cestero, Norberto
Kerner, Michael Lazarus.
THE OXCART (LA CARRETA) (18 + ). By Rene Marques, translated by Dr. Charles Pil-
ditch. April 20, 1983. Director, Roberto Rodriguez Suarez; scenery, Reagan Cook; lighting,
Jeffrey Schissler; costumes, Maria Contessa. With Nina Polan, Carmen Maya, Laura Figue-
roa, George Bass, Freddy Valle, Margarita Morales, Iraida Polanco, Maria Garcia, Victor Gil de
Lamadrid, Aixa Clemente, R. Sebastian Russ.
Quaigh Theater. Primarily a playwrights' theater, devoted to the new playwright, the
established contemporary playwright and the modern (post- 1920) playwright. Will
Lieberson, artistic director.
BIRDBATH (7). Opera by Kenneth Lieberson. based on Leonard Melfi's play. August 1, 1982.
Director, John Margulis. With Marthe Ihde, Michael Kutner.
424 THE BEST PLAYS OF 1982-1983
THE CLOSED DOOR (20). By Graham Reid. October 23, 1982. Director, Dennis Lieber-
son; scenery and lighting, Linda Tate. With Michael O'SulHvan, Sarah Venable, Noel Law-
lor, Ron Berliner, Tom Sminkey, James Pyduck, Sally Parrish, Jack Poggi, Naomi Riseman.
THE VENTRILOQUIST (18). Book, Steven Otfinoski; music and lyrics, Eddie Garson. April 19,
1983. Director, Will Lieberson; choreography, Dan Walsh; musical director. Rick Lewis; scenery.
Bob Phillips; lighting, John C. Merriman; costumes, Mary Ellen Bosche. With Barbara Ni-
coll, Barbara Mappus, Herbert Rubens, Michele Franks, Russell Ochocki, Eric Kornfeld, Annie
Heller, Frank Anderson, Scott Bylund, Eddie Garson.
DRAMATHON '82 (one-act plays in marathon). Schedule included: ST. MARK'S PLACE
(musical) book by Ira Rosenstein, music and lyrics by Hilary Schmidt, directed by Kathy
Popper; ESCOFFIER: KING OF CHEFS written and performed by Owen S. Rackleflf, directed
by Laurence Carr; THE GOOD LIFE by Jack McCleland, directed by Tony DeNonno; SEP-
TEMBER SONG by Nicky Silver, directed by Ezra Litwok; STRATAGEM adapted and directed
by Don Durant from the Belvue Ensemble's Pawns; ELEANOR by John Cameron, directed by
Joe Rettura; REGENCY ROMANCE by Geralyn Horton, directed by Leslie Hoban Blake;
HAVE YOU SEEN SEAN? by Kit Jones, directed by Eleanor Johnson; UNVEILINGS by P.J.
Gibson, directed by Bette Howard; STEVE AND STEVE by Charles LaTourette, directed by J.B.
Nader; LIFE BENEATH THE ROSES by Gene Franklin Smith, directed by Richard Beck-
Meyer; PORPOISE by Sharyn Cooper and Rene Savitt, directed by Rene Savitt; HADES FOR
SOME IS THE RED DOG SALOON by Jane F. Bonin, directed by Will Lieberson; LU-
NACY by Gayle Marriner, directed by Wick O'Brien; OLD GRAND-DAD by Christine
Child, directed by Robyn Lyn Smith; GREAT MOMENTS FROM THE GOOD BOOK by
Steven Otfinoski, directed by Chuck Noell; THE ONION AND THE STRAWBERRY
SEED by Edna Schappert, directed by Alice Kellman; A LADY NEEDS PROTECTION by
Edward Eriksson, directed by Terence Cartwright; AUTOEROTIC MISADVENTURE by F.J.
Hartland, directed by Peter Gordon; THE HOOKER AND THE JOHN by Richard Vetere,
directed by Joe Rettura; THE FEEBLE HUSBAND by Clayton J. Delery, directed by Bill
Condee; APRES MIDI by Donald Kvares, directed by Ted Mormel; DIN DIN WITH FRAN
& TED by Olga Humphries, directed by Lester Malizia; THE MAN FROM PORLOCK by Jack
A. Kaplan, directed by Cecelia Critchley; DAY OF THE RACES by Julie Jensen, directed by
Diane Busch; THE SEVENTH DAY by Lucille Hauser, directed by Liz Diamond; DAY
GAME by Scott Caming, directed by James Paradise; THE GHOST OF GLOOMY
MANOR (musical) book and lyrics by Steven Otfinoski; music by Karl Blumenkrantz, directed
by Mallie Boman; THE BIRDFEEDER by Steven Otfinoski, directed by Benita Gold; THE
BOOKWORM by Steven Otfinoski, directed by Marion Brasch; BREAKING IN by James T.
Cartin, directed by Chris Jones; P.W.B. by Kathryn Capofari, directed by David Weiss; OUR
LIFE (musical) book by Virginia Masterman Smith, music and lyrics by Barbara DeAngelis,
directed by Barbara DeAngelis; TITANIA BARYTONOS by Douglas Glenn Clark, directed by
Richard Harden; GREEN APPLES written and directed by Peter Josyph; THE KEY AND THE
WALL by Ralph Falco, directed by Norman Rhodes; GROSSBECKS by Stuart Stelly, directed
by Iris Posner; BERLIN BLUES (musical) book and lyrics by Ilsa Gilbert, music by Katrina
Cameron, directed by Barbara Sandek; GHOST WRITER by Maureen A. Martin, directed by
Ken Lowstetter; SLEEPOVER written and directed by Ronnie Paris. December 31, 1982-Janu-
ary 2, 1983.
Lunchtime Series
LOUISIANA CURRENT by Stuart Stelly. November 22, 1982. Directed by Rita Tiplitz; with
Philip Soltanoff, Frank P. Ryan, George McGrath, Art Kempf.
ELBOW TO ELBOW by Glauco Disalle, adapted by Mario Fratti. December 5, 1982. Directed
by Bill CosgrifF; with Timothy Lewis, David Carlyon, Martitia Palmer.
DAY GAME by Scott Caming. January 10, 1983. Directed by Jim Paradise; with Christopher
Boyd, Anne Gartlan, David Gideon, Bob Heck, Richard Patrick-Warner, Andy Stahl, Earl
Vedder.
THE BOOKWORM by Steven Otfinoski. January 24, 1983. Directed by Marion Brasch; with
R. Bruce Ross, Peter Levine, Juanita Walsh.
ELEANOR by John Cameron, directed by Joseph Rettura and STEVE AND STEVE by Charles
LaTourette, directed by J.B. Nader. February 7, 1983.
PLAYS PRODUCED OFF OFF BROADWAY 425
THE KEY AND THE WALL by Ralph Falco, directed by Norman Rhodes; AUTOEROTIC
MISADVENTURE by F.J. Hartland, directed by Peter Gordon. February 21, 1983. With Ga-
etano Provenzano, Robin Nolan, Paul Mantell, Susan Burkheimer, Jon Wool, Paul Zappala.
AFTER MAIGRET by Julia Hoban. March 8, 1983. Directed by Janet Sarno; with Lezlie
Dalton, Vernon Hinkle, Julia Hoban.
CRAWLING ARNOLD by Jules Feiffer. March 22, 1983. Directed by Lauire Eliscu; with
Warner Schreiner, Stuart Zagnit, Dru-Ann Chuckran.
A LADY NEEDS PROTECTION by Edward Eriksson. April 4, 1983. Directed by Terence
Cartwright; with Artie Gerunda, Laurie Oudin, Remo Portelli.
GROSSBECKS by Stuart Stelly. April 18, 1983. Directed by Iris Posner; with George Cron, Billie
Jackson, Michael Juzwak.
GARBAGE CAN MAN by and with Tom Coble. May 2, 1983. Directed by Joe Nikola.
LOUISIANA PLAYWRIGHTS' FESTIVAL: GUN CITY written and directed by Bruce
Bradley; PSUICIDE by Michael Lackey, directed by Kim Aldridge; HAPPY FATHER'S
DAY written and directed by Sonny Hyles. May 16-20, 1983.
A VISIT WITH THE MUSE by Lewis Gardner. May 23, 1983. Directed by James Struth-
ers.
FRIENDS by Kevin O'Connor. May 30, 1983. Directed by Mary Tierney; with Pat
McNamara, Jarlath Conroy.
The Ridiculous Theatrical Company. Charles Ludlam's camp-oriented group devoted to
productions of his original scripts and broad adaptations of classics. Charies Ludlam,
aristic director and director of all productions.
EXQUISITE TORTURE. By Charles Ludlam. October 6, 1982. Scenery, Jack Kelly; costumes,
Everett Quinton; lighting, Lawrence Eichler; music composed by Peter Golub. With Edward
McGowan, Everett Quinton, Charles Ludlam, Eureka, Deborah Petti, Black-Eyed Susan, Steven
Samuels.
LE BOURGEOIS AVANT-GARDE. By Charles Ludlam. April 12, 1983. Scenery, Charles
Ludlam; costumes, Everett Quinton; lighting, Lawrence Eichler; music composed by Peter
Golub. With Bill Vehr, Michael Belanger, Edward McGowan, Charles Ludlam, Zelda Patter-
son, Everett Quinton, John Heys, Deborah Petti, Larry Maxwell, Black-Eyed Susan.
The Second Stage. Committed to producing plays of the last ten years believed to deserve
another chance, as well as new works. Robyn Goodman, Carole Rothman, artistic direc-
tors.
PAINTING CHURCHES (30). By Tina Howe. February 8, 1983. Director, Carole Roth-
man; scenery, Heidi Landesman; lighting, Frances Aronson; costumes, Nan Cibula. With Marian
Seldes, Donald Moffat, Frances Conroy.
WINTERPLAY (18). By Adele Edling Shank. May 22, 1983. Director, Harris Yulin; scenery,
Douglas Stein; lighting, William Armstrong; costumes, Ann Emonts. With James Olson, Carlin
Glynn, Geoffrey Sharp, Ann Talman, Judith Roberts, Reed Birney, Robert Dorfman, Cristine
Rose.
SOMETHING DIFFERENT by Carl Reiner. March 15, 1983. Directed by Michael Kahn; with
Andrew Duncan, Robyn Goodman, Norman Parker, Wendy Wolfe, Audree Rae, Ellen
March, Theresa Merritt.
Shelter West. Aims to offer an atmosphere of trust and a place for unhurried and construc-
tive work. Judith Joseph, artistic director.
16 performances each
GENUINE RHINESTONES. By Vincent Gaeta. January 13, 1983. Director, Judith Joseph;
scenery, Rudy Kocevar; lighting, Pat Dignan; costumes, MaryAnn D. Smith. With Robin
Thomas, Kathy Lichter, Cheryl Henderson, Stephen Marshall, Joseph Noah, Lou Mantis.
THEATER AT ST. CLEMENT'S— Eddie Jones and Jenny Wright in Roma
Greth's The Greatest Day of the Century
FOUR LANES TO JERSEY. By Roma Greth. April 14, 1983. Director, Jude Schanzer; scenery,
Loy Arcenas; lighting, Pat Dignan; costumes, MaryAnn D. Smith. With James Farkas, Roma
Friedman, K.C. Kelly, Helen Zelon.
Soho Rep. Infrequently or never-before-performed plays by the world's greatest authors,
with emphasis on language and theatricality. Marlene Swartz, Jerry Engelbach, artistic
directors.
THE SILVER TASSIE by Sean O'Casey. October 21, 1983. Directed by Carey Perloff; with
Victor Talmadge, Ralph Drischell, Jonathan Chappell, Dustin Evans.
FANSHEN (27). By David Hare. January 27, 1983. Director, Michael Bloom; scenery, Raymond
Kluga; lighting, David Noling; costumes, Steven Birnbaum. With Robertson Dean, Shelly
Desai, Dustin Evans, Ryn Hodes, Sharita Hunt, Fredric Mao, Patrizia Norcia, Tom Smin-
key. Time Winters.
KID TWIST (20). By Len Jenkin. March 10, 1983. Director, Tony Barsha; scenery, Dorian
Vemacchio; lighting, Chaim Gitter; costumes, Elene Pelliciaro. With Richard Bright, Mark
Margolis, Richard Council, Michael Brody, Ray Xifo, Anthony Risoli, Judson Camp, Andrew
Clark, Brian Delate, Kathryn Beckwith, Diane Cypkin.
RAPE UPON RAPE (20). By Henry Fielding (first New York production of record of this 1730
London play). April 29, 1983. Director, Anthony Bowles; scenery, Raymond Kluga; lighting,
David Noling; costumes. Gene Lakin. With Ward Asquith, Andrew Barnicle, Victor Caroli,
Suzanne Ford, Richard Behren, Jim Denton, Ann MacMillan, George Maguire, Marilyn Red-
field, Steve Sterner, Alan Zampese.
PLAYS PRODUCED OFF OFF BROADWAY 427
South Street Theater Company. Presents dramatizations of American literature and tran-
slations of new European plays in their American premieres. Jean Sullivan, Michael
Fischetti, co-artistic directors, Leslie Erich Comens, project director.
A MOSCOW HAMLET and A CASUAL AFFAIR (short stories) by Anton Chekhov, adapted,
directed and performed by Jean Sullivan and Michael Fischetti. June 14, 1982.
THE WORLD OF RUTH DRAPER (25). Adapted by Alan Levy from Morton Dauwen
Zabel's The Art of Ruth Draper. December 4, 1982. Director, Franz Schafranek; musical director,
James Logan Cramer; scenery and costumes, Tamare; narration, Eugene Hartzell. With Ruth
Brinkmann.
Theater at St. Qement's. Primarily new American plays presented in New York pre-
mieres. Anita Khanzadian, artistic director, Stephen Berwind, producing director.
THE LEGAL MACHINE (16). By Alfonso Vallejo, translated by Susan Meredith. June 2, 1982.
Director, Jordan Deitcher; scenery, David Potts; lighting, Victor En Yu Tan; costumes, Margo
LaZaro. With Neil Vipond, Jack Hollander, Howard Lee Sherman, Nada Rowand, Cora
Hook, Socorro Santiago, Raynor Scheine.
THE GREATEST DAY OF THE CENTURY (18). By Roma Greth. April 22, 1983. Director,
Anita Khanzadian; scenery and lighting, Gary Jennings; costumes, Margo LaZaro. With Eddie
Jones, Jenny Wright, Jeb Ellis-Brown, Adrienne Wallace.
Theater for the New City. Developmental theater, incorporating live music and dance into
new American experimental works. George Bartenieff, Crystal Field, artistic directors.
BEFORE SHE IS EVEN BORN (10). By Leah K. Friedman. September 19, 1982. Director, Susan
Einhom; scenery, Audrey Hemenway; lighting, Victor En Yu Tan; costumes, Muriel Stock-
dale; music and sound. Skip La Plante. With Karen Ludwig, Dayne Lee, Rebecca Schull, Leslie
Ayvazian.
24 INCHES (15). Book and lyrics, Robert Patrick; music, David Tice. October 7, 1982. Scenery
and lighting, John Jewell. With Sandy Bigtree, Stephen Cross, Barry Greenberg, Kevin Hur-
ley, Terry Talley, J.R. Wells, Stacia Goad, Nancy Crumpler, Jeff Lucchese.
DIAGONAL MAN (THEORY AND PRACTICE) (20). By and with Bread and Puppet
Theater. November 30, 1982.
FRED BREAKS BREAD WITH THE DEAD: FRAGMENTS OF A LOST REPER-
TOIRE. Conceived, directed and performed by Fred Curchack. December 23, 1982.
GROWING UP GOTHIC (co-production with Interart Theater; see Interart Theater for full
entry).
THE DANUBE (16). Written and directed by Maria Irene Fomes. February 17, 1983. Scenery,
Monica Lorca; lighting, Joe Ray; costumes, Gabriel Berry; puppets, Esteban Fernandez. With
Michael Sean Edwards, Arthur Williams, Margaret Harrington, Martin Treat.
STARBURN (16). Book and lyrics, Rosalyn Drexler; music, Michael Meadows. February 24,
1983. Director, John Vaccaro; musical director, Bruce Coyle; scenery, Elwin Charles Terrel
III; lighting, Anne Militello; costumes, Bernard Roth. With Kristi Rose, John Albano, John
Barilla, Alicia Brandt, John D. Brockmeyer, Alison Gordy, Gloria Harper, Don Hartley, Lola
Pashalinski, Joe Pichette, Tony Zanetta.
ROSETTLS APOLOGETICS (16). By Leonard Melfi; music, Mark Hardwick. April 7, 1983.
Director, Crystal Field; musical director, David Caldwell; scenery, Ron Kajawara; lighting, John
P. Dodd; costumes, Edmund Felix. With George Bartenieff, Alex Bartenieff, Cr>stal Field.
Kenneth La Ron Johnson, Beness Mardenn, Leonard Melfi, Carmen Mathis, Alex Mustelier. Jill
Wissoff.
THE DEPARTMENT (20). By Barbara Garson. Apnl 21, 1983. Director. Chris Kraus; scenery,
LB. Dallas; lighting, Harry Darrow. With Victoria Abrash, Jessica Bloom, Cynthia Jordan,
428 THE BEST PLAYS OF 1982-1983
Daniel Daily, Catherine Hoeg, Sharon Shambourger, Vi Torbett, Susana Tubert, Michael
Twain, Scott Wakefield.
Theater of the Open Eye. Total theater involving actors, dancers, musicians and designers
working together, each bringing his own talents into a single project. Jean Erdman,
producing artistic director, Amie Brockway, associate artistic director.
THE DITCH (18). Adapted and directed by Ann Scofield from Jakov Lind's radio play, Anna
Laub. June 2, 1982. Scenery and lighting, Clayton Campbell; costumes, Esther Smith; music,
David Simons. With Mary Alice, Dain Chandler, Alexis Genya, Elaine May Morrison, Mario
Arrambide, Marc Murray, Andrew Traines.
BEHIND A MASK (20). Adapted by Karen L. Lewis from Madeleine Stern's Behind a Mask,
the Unknown Thrillers of Louisa May Alcott. February 3, 1983. Director, Amie Brockway;
scenery, lighting and costumes, Adrienne J. Brockway. With Constance Bahr, Sally Chamber-
lin, Helen Eleasari, Edward D. Griffith, Ryan Hilliard, Annalee Jefferies, Mark Johannes, Meg
Van Zyl.
PHANTOM LIMBS (25). By Charles Borkhuis. March 31, 1983. Director, Gitta Honegger;
scenery. Powers Boothe; lighting, Scott Breindel; costumes, Jane Clark. With Joyce Aaron,
Andrew Davis, Kenneth Ryan, Henry Stram.
LA BELLE AU BOIS (24). By Jules Supervielle, translated by Irma Brandeis. May 26, 1983.
Directors, Jean Erdman, Amie Brockway; choreographer, Jean Erdman; music, Elliot Soko-
lov; scenery and lighting, Clayton Campbell; costumes, Adrienne J. Brockway. With Nora
Chester, Marylou DiFilippo, Ronnie Newman, Tony Pasqualini, Calvin Remsberg, Amy
Stoller, John Wallace Wilson, Deidre Stafford, Jeanne Stafford.
Theater OflF Park. Provides Murray Hill-Turtle Bay residents with a professional theater,
showcasing the talents of new actors, playwrights, designers and directors. Patricia Flynn
Peate, executive director.
16 performances each
THE WILDE SPIRIT. Conceived and performed by Kerry Ashton. June 2, 1982. Scenery, Mina
Albergo; lighting. Dawn Chiang; costumes, Ken Brown.
SWEET PRINCE. By A.E. Hotchner. September 21, 1982. Director, Susie Fuller; scenery and
costumes, Don Jensen; lighting, Richard Nelson; fencing choreography, Peter Moore. With Keir
Dullea, Ian Abercrombie.
DETAILS WITHOUT A MAP. By Barbara Schneider. October 26, 1982. Director, James
Milton; scenery, Bob Phillips; lighting, John Gisondi; costumes, Amanda J. Klein. With Jo
Henderson, Stephen Joyce, Margaret Baker, Cordis Heard, Marc Riffon, Michael Ornstein, Lionel
Chute.
THE BANANA DANCER. Conceived, written, and directed by Len Calder and Robin
Courbet. February 22, 1983. Scenery, Joseph A. Varga; lighting, Robin Courbet and James R.
Gibby; costumes, George Vallo. With Angela Logan.
BALZAMINOV'S WEDDING. By Alexander Ostrovsky, translated by Edythe Haber. April 6,
1983. Director, Timor Djordjadze; choreographer, Dorothy Massalski; music directed and com-
piled by Deena Kaye; scenery, Lynda Wormell; lighting, William J. Plachy; costumes, Muriel
Stockdale. With Sally Deering, Jan Jalenak, Penelope Safranek, Marc Raymond, Rebecca
Schull, Melissa Weber, Mimi Rogers Weddell.
MIRAGE. By Malcolm Stewart. May 18, 1983. Directed by Granville Burgess; scenery, Jane
Clark; lighting, Betsy Adams; costumes, Ginnie Weidmann. With Fran Barnes, Gregory
Chase, Michael Coerver, David Hunt, Amy Lemon, Meg Myles, Emmett O'Sullivan-Moore.
THE WATER HEN by Stanislaw Witkiewicz, translated by Daniel Gerould and C.S. Durer.
January 5, 1983. Directed by Bradford Mays; with Betty LaRoe, Tobias Haller, James Cur-
ran, Nat Warren-White, Stanley Keyes, Linda Chambers, James Fleming, Lee Taylor-Allan.
I
PLAYS PRODUCED OFF OFF BROADWAY 429
WPA Theater. Produces neglected American classics and new American plays in the
realistic idiom. Kyle Renick, artistic director, Wendy Bustard, managing director, Edward
T. Gianfrancesco, resident designer/technical director.
25 performances each
BACK TO BACK. By Al Brown. October 28, 1982. Director, Douglas Johnson; scenery, Edward
T. Gianfrancesco; lighting, Craig Evans; costumes, Don Newcomb. With Eugene Lee, Keith
Gordon.
A DIFFERENT MOON. By Ara Watson. January 27, 1983. Director, Sam Blackwell; scenery,
Jim Steere; lighting, Craig Evans; costumes, Don Newcomb. With Christopher Cooper, Zina
Jasper, Betsy Aidem, Linda Lee Johnson.
VIEUX CARRE. By Tennessee WilHams. March 26, 1983. Director, Stephen Zuckerman; sce-
nery, James Fenhagen; lighting, Charles Cosier; costumes, Mimi Maxmen. With Jacqueline
Brooks, Louise Stubbs, Mark Soper, Anne Twomey, Tom Klunis, Alex Stuhl, Elaine Swann, Anna
Minot, John Bedford-Lloyd, Jeff Garrett, Brian Hargrove.
ASIAN SHADE. By Larry Ketron. May 12, 1983. Director, Dann Florek; scenery, Ross A.
Wilmeth; lighting, Phil Monat; costumes, Don Newcomb. With Mark Benninghofen, Lenny Von
Dohlen, Tom Brennan, Marissa Chibas, Dianne Neil, J. Smith-Cameron.
The York Players. Each season, productions of classics and contemporary plays are
mounted with professional casts, providing neighborhood residents with professional thea-
ter. Janet Hayes Walker, artistic director.
THE WISTERIA TREES by Joshua Logan. November 20, 1982. Directed by Peter Phillips; with
Carrie Nye, Diane Kirksey, Susan Pellegrino, David Little, Hubert Kelly Jr., Avon Long, Louis
Edmonds, J.R. Home.
THE BOY'S OWN STORY (14). By Peter Flannery. January 13, 1983. Director, Richard
Seyd; scenery, James Morgan; lighting, Mary Jo Dondlinger. With Jim Piddock.
COLETTE COLLAGE (17). Book and lyrics, Tom Jones; music, Harvey Schmidt. March 31,
1983. Director, Fran Soeder; choreographer, Janet Watson; musical director, Eric Stern; scenery,
James Morgan; lighting, Mary Jo Dondlinger; costumes, Sigrid Insull. With Steven F. Hall,
George Hall, Joanne Beretta, Timothy Jerome, Jana Robbins, Howard Pinhasik, Susan J.
Baum, Dan Shaheen, Suzanne Bedford, Terry Baughan, Tim Ewing.
A MIDSUMMER NIGHT'S DREAM by Wilham Shakespeare. May 10, 1983. Directed by Janet
Hayes Walker; with Lisa Barnes, Laurie Klatscher, Scott Ellis, Thomas Narhwold, Scott
Rhyne, Julie Ramaker, Viveca Parker, Kurt Johnson, Frederick Walters, John Newton.
Miscellaneous
In the additional listing of 1982-83 off-oflf-Broadway productions below, the
names of the producing groups or theaters appear in CAPITAL LETTERS and
the titles of the works in italics. This list consists largely of new or reconstituted
works and excludes most revivals, especially of classics. It includes a few produc-
tions staged by groups which rented space from the more established organiza-
tions listed previously.
ACTORS REPERTORY THEATER. After You've Gone by Marjorie Kellogg. June, 1982. Directed
by Jason Buzas; with Sylvia Short, Lily Lodge, Barry Ford. The Men's Room by Jess Gregg.
November 19, 1982. Directed by Warren Robertson; with Burt Young, Lewis VanBergen, Frankie
Faison, Jim Lynch, James Gara.
AMERICAN JEWISH THEATER. The Tenth Man by Paddy Chayefsky. October 23, 1982. Di-
rected by Dan Held; with Lydia Leeds, Art Burns, Sol Frieder, Norman Golden, Milton
YORK PLAYERS— Jana Robbins as Colette in Colette Collage
Lansky, Victor Jacoby, Albert S. Bennett. David and Paula by Howard Fast. November 7, 1982.
Directed by Stanley Brechner; with Veronica Castang, David Margulies. The Man in the Glass
Booth by Robert Shaw. January 8, 1983. Directed by Dan Held; with Albert Sinkys, Art Burns. The
Rise of David Levinsky (musical) book and lyrics by Isaiah Sheffer, based on Abraham Cahan's novel,
music by Bobby Paul. March 12, 1983. Directed by Sue Lawless; with Avi Hoffman, Larry
Keith, Marilyn Sokol.
ARK THEATER. Lumiere by Donald Marcus. February 13, 1983. Directed by Irene Lewis; with
J.T. Walsh, William Converse-Roberts, Concetta Tomei, Kate Wilkinson, Denise DeLong.
ASIA SOCIETY. Kutiyattam (Sanskrit drama). August 24, 1982.
BROOKLYN ACADEMY OF MUSIC. The Flying Karamazov Brothers. October, 1982. With
Howard Jay Patterson, Paul David Magid, Samuel Ross Williams, Timothy Daniel Furst.
COOPER-HEWITT MUSEUM. Tiffany, Mackaye and Edison (one-act play) by Howard
Pflanzer. April 28, 1983. Directed by Susan Miller London; with Lucy McMichael, Arnold Wil-
lens, Eric Himes, Robin Strange.
DANCE THEATER WORKSHOP/ECONOMY TIRES THEATER. Grupo Contadores de Es-
torias (The Story Tellers) written, directed and performed by Rachel Ribas and Marcos Caetano
Ribas, music by Helena Pinheiro. August, 1982 (Brazilian puppets). Inclined to Agree conceived and
!
PLAYS PRODUCED OFF OFF BROADWAY 431
performed by Daniel Stein, created and directed by Daniel Stein and Christopher Gibson. May 19,
1983.
THE GLINES. If This Isn't Love by Sidney Morris. June, 1982. Directed by Leslie Irons.
GREEK THEATER OF NEW YORK. Alexandriad: the Early Years written and directed by Yannis
Simonides. November 2, 1982. With Louis J. Chambers, Russ Fast, Felicia Faulkner, William
Hanauer, Tony Simotes, Ahvi Spindell, Alex Bellas. The Birds by Aristophanes, translated by Walter
Kerr; songs composed and arranged by Evangelos Pampas, lyrics by John-Neil Harris. May 16, 1983.
Directed by Russ Fast; with Yannis Simonides, Alexis Mylonas, Russ Fast, Julia Kiley, Demetra
Karras.
GREENWICH HOUSE THEATER. Ceremony in Bohemia by Jon Forester. November, 1982.
Directed by Kenna Hunt; with Ludmila Shikhverg, Jiri Fisher, Zdenka Fisher, Gerard D' An-
tonio.
HAROLD CLURMAN THEATER. From Brooks With Love (musical) book and lyrics by Wayne
Sheridan, music by George Koch and Russ Taylor. March 30, 1983. Directed by William Michael
Maher; with Ralph Anthony, Gillian Walke, Gwen Arment, Fred Bishop, Richard Sabellico, Geral-
dine Hanning, Peter Blaxill.
INTAR (rental). American Princess (musical) book by Leonard Orr, Jed Feuer and David Hur-
witz, music and directed by Jed Feuer, lyrics by Leonard Orr. October, 1982. With Mark Yet-
ter, Mary Testa, Jack Sevier, Florence Levitt. Night Fishing in Beverly Hills by Louis C Adel-
man. November 10, 1982. Directed by Cash Baxter; with John Arch-Carter, Brett Somers, Michael
Beckett, James Pritchett, Jake Turner, William Swan, Ann Gentry. Knights Errant by John
Hunt with Martin Kaplan. December 1, 1982. Directed by Geoffrey Shlaes; with Harry Spill-
man, Frances Barnes, J.D. Clarke, Richard M. Davidson, Eddie Jones, James DeMarse, Tudi
Wiggins.
JAPAN HOUSE. Bunraku Puppet Theater of Japan . March 12, 1983.
JEAN COCTEAU REPERORY. The Condemned of Altona by Jean-Paul Sartre. September 16,
1982. Directed by Eve Adamson. Swanwhite by August Strindberg. October 7, 1982. Directed by
Susan Flakes. Saint Joan by George Bernard Shaw. December 7, 1982. Directed by Eve Adam-
son. The School for Scandal by Richard Brinsley Sheridan. February 10, 1983. Directed by Robert
Moss. Don Carlos by Friedrich von Schiller. March 24, 1983. Directed by Eve Adamson. Philoc-
tetes by Sophocles, new English version and directed by Karen Sunde. April 11, 1983.
JEWISH REPERTORY THEATER. Friends Too Numerous to Mention by Neil Cohen and Joel
Cohen. November 27, 1982. Directed by Allen Coulter; with Barbara Speigel, William Wise, Salem
Ludwig, Robin Karfo, Jack Kehler, Thomas Kopache, Grace Roberts. Taking Steam by Kenneth
Klonsky and Brian Shein. April 2, 1983. Directed by Edward M. Cohen; with Herb Duncan, Jack
Aaron, Maurice Sterman, Felix Fibich, Herman O. Arbeit, Harvey Pierce, Frank Nastasi. My Heart
Is in the East (musical) book by Linda Kline, music by Raphael Crystal, lyrics by Richard Eng-
quist. May 28, 1983. Directed by Ran Avni; with Dave DeChristopher, Adam Heller, Nancy
Mayans, Susan Victor.
JONES BEACH THEATER. Grease (musical) book, music and lyrics by Jim Jacobs and Warren
Casey. July 13, 1982. Directed by Frank Wagner; with Mark Martino, Laurie Stephenson, Pamela
Blasetti. West Side Story (musical) book by Arthur Laurents, music by Leonard Bernstein, lyrics by
Stephen Sondheim. August 3, 1982. Directed by Leslie B. Cutler; with Jack Magradey, Barry
Williams, Christine Andreas, Michael Rivera, Rob Marshall, Loida Santos.
LABOR THEATER. Bottom Line (musical) by CR. Portz, music by Martin Burman. December 7,
1982. With Martin Burman, Gussie Harris, Marcia Mcintosh, David Ossian, Guy Sherman.
LION THEATER (rental). Soap (musical) book, lyrics and direction by David Man, music by Aaron
Egigian. September 10, 1982. With Cindy Benson, Suzanne Blakeslee, Karen Bruhn, Mark Go-
etzinger, Joseph Kelly, James Leach, Todd Robinson, Aileen Savage, Catherine Schultz, Gwen
Strong, Porcina LeSeur. Sunday Afternoon by Marshall Borden. January 8, 1983. Directed by Michael
Hardstark; with Gina Batiste, Willie Carpenter, Ed Easton, Lawrence Guardino, Fred Keeler, Kath-
leen McKiernan, George J. Peters.
432 THE BEST PLAYS OF 1982-1983
MARYMOUNT MANHATTAN THEATER. In Agony by Miroslav Krleza, translated by John
Stark and Mihajlo Starcevic, adapted by Tom Grainger. October, 1982. Directed by John Stark; with
Margret Wamke, Marshall Borden, Roy Steinberg, Aurelia De Felice.
MEAT AND POTATOES COMPANY. A Place on the Magdalena Flats by Preston Jones. Octo-
ber, 1982. Directed by Jon Teta; with Jennifer Sullivan, Bill Fears, Jeanne Morrissey, Scott
Renderer.
MOONLIGHT PRODUCTIONS. Tales From the Vermont Woods by Sharon Linnea. February 10,
1983. Directed by Robert Owens Scott; with Chel Chenier, Paul Duke, Charles Dinstuhl, Ehzabeth
Lage, Jayne Heller, Jack Schmidt.
MUSIC-THEATER GROUP/LENOX ARTS CENTER. The Mother of Us All (opera) text by
Gertrude Stein, music by Virgil Thomson. March 15, 1983. Directed by Stanley Silverman; with
Richard Frisch, Ruth Jacobson, Carmen Pelton, Linn Maxwell, John Vining, Harris Poor, Paula
Siebel, Avery J. Tracht, Kate Humey. The Juniper Tree, a Tragic Household Tale (musical) written
and composed by Wendy Kesselman. April 19, 1983. Directed by Michael Montel; with Anthony
Crivello, Deborah OfFner, Wendy Kesselman. The Day, the Night conceived, composed and directed
by Welcome Msomi. May 18, 1983. With Robert Jason, Deborah Malone, Terrance T. Ellis, Stephanie
R. Berry, Vanessa Shaw, Ghanniyya Green.
NEW YORK GILBERT AND SULLIVAN PLAYERS. lolanthe libretto by W. S. Gilbert, music
by Arthur Sullivan. December 31, 1982. Directed by Albert Bergeret; with Cheryl Fenner, Claire
Bennett, Louis Dal'Ava, Del-Bouree Bach, Keith Jurosko, Richard Holmes. The Gondoliers libretto
by William S. Gilbert, music by Arthur SuUivan. April 7, 1983. Directed by Albert Bergeret.
NEW YORK THEATER STUDIO. Our Lord of Lynchville by Snoo Wilson. January 30, 1983.
Directed by Richard V. Romagnoli; with Leon Russom, Gisele Richardson.
O'NEALS' 43d. Broadway Scandals of 1982 (revue) music by Jeffrey Silverman, lyrics, scenario, and
directed by Walter Willison. July, 1982. With Jessica James, Shelley Bruce, Jo Anna Lehmann, Kenny
D'Aquila, Gwen Hiller Lowe, Rose Scudder, Steve Jerro, Bill Johnson.
THE OTHER END. Slap Happy (comedy revue) written by and with Jeff Emstoff, Allan
Jacobs, Jan Kirschner, Brian O'Connor. January, 1983. Directed by Munson Hicks.
PALSSON'S. Corkscrews! (musical revue) by Tony Lang and Arthur Siegel. April, 1983. Directed
by Miriam Fond; with Tony Lang, Arthur Siegel, Miriam Fond.
PARK ROYAL THEATER. Red Rover, Red Rover by Oliver Hailey. March 19, 1983. Directed by
Tony Napoli; with Helen Gallagher, Phyllis Newman.
THE PERFORMING GARAGE. The Confessions of a Dope Fiend by Jeffrey M. Jones. September
9, 1982. Directed by Matthew Maguire; with Michael Harris, Ron Vawter. Voodoo Automatic written
and directed by Alan Finneran; Red Rain written and directed by Bean Finneran, music by Bob
Davis. March 1, 1983. With Soon 3.
PERRY STREET THEATER. All of the Above (musical revue) by Michael Eisenberg. July 14, 1982.
Directed by Tony Berk; with Linda Gelman, Ann Morrison, Michelan Sisti, Ed Ellner. The Provoked
Wife by Sir John Vanbrugh. May, 1983. Directed by John Retallack; with Russell Enoch, Valerie
Braddell, Chris Barnes, Christine Bishop, Raymond Sawyer, Susan Colverd.
PRODUCTION COMPANY. Blood Moon by Nicholas Kazan. January 5, 1983. Directed by Allen
R. Belknap; with Dana Delany, David Canary, Nicholas Saunders. The Gilded Cage (musical)
conceived and directed by James Milton. January 9, 1983. With Marianne Tatum, Tom McKin-
ney, Robert Stillman, Paula Sweeney, Susan Blommaert, Marilyn Firment. Jazz Poets at the
Grotto conceived and directed by Greg McCaslin. March 9, 1983. With Randy Danson, John
Pankow, John Korkes, Michael Butler, Judith Ivey, Ruthe Staples, John Shearin.
QUAIGH THEATER (rental). Going Steady and Other Fables of the Heart by E. Eugene Bald-
win. November 5, 1982. Directed by William E. Hunt.
RIVERSIDE SHAKESPEARE COMPANY. Richard HI by William Shakespeare. November 19,
1982. Directed by John Clingerman; with J. Kenneth Campbell, Richard Hoyt-Miller, Mary
McTigue, Elton Beckett.
PRODUCTION COMPANY— Dana Delany and David
Canary in a scene from Blood Moon by Nicholas Kazan
SAN FRANCISCO MIME TROUPE. Americans, or Last Tango in Huahuatenango by Joan
Holden. November, 1982. Directed by Daniel Chumley; with Sahron Lockwood, Gus Johnson,
Audrey Smith, Ruben Garfias, Arthur Holden.
S.N.A.F.U. Etiquette (musical revue) by William M. Hoffman and John Braden. January, 1983.
Directed by John Vaccaro; with Cindy Benson, Marcia McCIain, Jerry Cunliffe, Molly Regan.
SOUNDSCAPE. La Troupe Makandal (staged voodoo rituals). May, 1983.
SOUTH STREET THEATER (rentals). The Music Keeper by Elliot Tiber and Andre Ernotte. July
14, 1982. Directed by Andre Ernotte; with Jan Miner, Dennis Bacigalupi. The Workroom
(L' Atelier) by Jean-Claude Grumberg, American version by Daniel A. Stein and Sara O'Connor.
October 22, 1982. Directed by Aaron Levin; with Rita Gardner, Margaret Dulaney, June
Squibb, Robin Leary, Elaine Grollman, Carrie Zivetz, Eugene Troobnick.
T.R.G. REPERTORY COMPANY. The Gospel According to Al (musical revue of AI Carmines's
songs) by Al Carmines. October 15, 1982. Directed by William Hopkins; with Cathleen Axelrod,
Georgia Creighton, Paul Farin, Kate Ingram, Tad Ingram.
434
THE BEST PLAYS OF 1982-1983
THEATER FOR ACTORS AND PLAYWRIGHTS. Victims of Duty by Eugene lonesco, translated
by Donald Watson. July, 1982. Directed by Herman Babad; with John Marolakos, Beege Bar-
kett, David Edelman, Val Bisoglio.
TROUPE THEATER. The Actors by Ward Morehouse HI. November, 1982. Directed by Andy
Milligan; with Lester J. Schaflfner, Lon Freeman, Che Moody, Jane Harvey.
VINEYARD THEATER. Living Quarters by Brian Friel. February 21, 1983. Directed by Susan
Einhorn; with John Braden, Ralph Williams, Robin Bartlett, Anne O'SuUivan, Keliher Walsh, Laura
Gardner.
Victims: a Triangle by Amirh Bahati. November 26, 1982. Directed by
VITAL ARTS THEATER.
Nathan George.
WESTSIDE MAINSTAGE. Journey to Gdansk, Tea with Milk and A Walk Before Dawn by Janusz
Glowacki. August 10, 1982. Directed by Kent Paul; with Allan Carlsen, Cara Duflf-MacCor-
mick, John Miglietta, Jennifer Grey. Saigon Rose by David Edgar. November 26, 1982. Directed by
Ted Davis; with Linda Cook, Celia Lee, Allan Wasserman.
CAST REPLACEMENTS AND
TOURING COMPANIES
Compiled by Stanley Green
The following is a list of the more important cast replacements in produc-
tions which opened in previous years, but were still playing in New York dur-
ing a substantial part of the 1982-83 season; or were still on a first-class tour in
1982-83, or opened in New York in 1982-83 and went on tour during the
season (casts of first-class touring companies of previous seasons which were no
longer playing in 1982-83 appear in previous Best Plays volumes of appropriate
years).
The name of each major role is listed in italics beneath the title of the play in
the first column. In the second column directly opposite appears the name of the
actor who created the role in the original New York production (whose opening
date appears in italics at the top of the column). Indented immediately beneath
the original actor's name are the names of subsequent New York replacements,
together with the date of replacement when available.
The third column gives information about first-class touring companies, in-
cluding London companies (produced under the auspices of their original New
York managements). When there is more than one roadshow company, #1, #2,
etc., appear before the name of the performer who created the role in each
company (and the city and date of each company's first performance appears in
italics at the top of the column). Their subsequent replacements are also listed
beneath their names, with dates when available.
AGNES OF GOD
Dr. Martha Livingstone
Mother Miriam Ruth
Agnes
New York 3/30/82
Elizabeth Ashley
Diahann Carroll 9/27/82
Elizabeth Ashley 10/11/82
Diahann Carroll 5/2/83
Geraldine Page
Amanda Plummer
Mia Dillon 9/7/82
Amanda Plummer 9/14/82
Carrie Fisher 1/3/83
Maryann Plunkett 4/12/83
AMADEUS
Antonio Salieri
New York 12/17/80
Ian McKellen
John Wood 10/13/81
Frank Langella 4/13/82
David Dukes 11/16/82
David Birney 5/24/83
Los Angeles 12/8/82
John Wood
435
436
THE BEST PLAYS OF 1982-1983
Wolfgang Amadeus Mozart
Constanze Weber
Tim Curry
Peter Firth 7/7/81
John Pankow 3/10/82
Dennis Boutsikeris 4/13/82
John Pankow 11/16/82
John Thomas Waite 4/19/83
Mark Hamill 4/28/83
Jane Seymour
Caris Corfman 5/26/81
Amy Irving 7/7/81
Caris Corfman 2/16/82
Michele Farr 3/23/82
Suzanne Lederer 4/13/82
Maureen Moore 5/24/83
Mark Hamill
John Pankow 4/28/83
Michele Seyler
ANNIE
Oliver War bucks
Annie
Miss Hannigan
Grace Farrell
Rooster Hannigan
Lily
New York 4/21/77
Reid Shelton
Keene Curtis 2/6/78
Reid Shelton 2/27/78
John Schuck 12/25/79
Harve Presnell 12/17/80
John Schuck 1/7/81
Rhodes Reason 6/23/81
Harve Presnell 9/1/81
Andrea McArdle
Shelley Bruce 3/6/78
Sarah Jessica Parker 3/6/79
Allison Smith 1/29/80
Alyson Kirk 9/8/82
Dorothy Loudon
Alice Ghostley 8/15/78
Dolores Wilson 8/21/79
Alice Ghostley 1/29/80
Betty Hutton 9/17/80
Alice Ghostley 10/8/80
Marcia Lewis 4/29/81
Ruth Kobart 2/24/82
Marcia Lewis 3/10/82
June Havoc 10/6/82
Sandy Faison
Lynn Kearney 1/22/79
Mary Bracken Phillips 8/79
Kathryn Boule 7/29/80
Ann Kerry 4/29/81
Lauren Mitchell 1/13/82
Robert Fitch
Gary Beach 1/29/80
Richard Sabellico 4/29/81
Bob Morrisey 8/4/82
Michael Calkins 9/19/82
Barbara Erwin
Annie McGreevey 9/78
West Point 9/11/81
Ron Holgate
Gary Holcombe 9/12/82
Mollie Hall
Kathleen Sisk 8/31/82
Ruth Williamson
Lynne Wintersteller
Donna Thomason 9/12/82
Guy Stroman
William McClary 4/6/82
Dick Decareau 9/26/82
Ann Casey
CAST REPLACEMENTS AND TOURING COMPANIES
437
FDR
Barbara Erwin 5/29/79
Rita Rudner 1/29/80
Dorothy Stanley 2/11/81
Raymond Thorne
Tom Hatten 8/18/82
Raymond Thorne 8/31/82
William Metzo
Note: Casts, including replacements, of the first touring company and the London company of
Annie appear on pages 446-A41 of The Best Plays of 1980-1981.
CAMELOT
Arthur
Guenevere
Lancelot du Lac
King Pellinore
Mordred
New York 11/15/81
Richard Harris
Meg Bussert
Richard Muenz
Barrie Ingham
Richard Backus
London 11/23/82
Richard Harris
Fiona Fullerton
Robert Meadmore
Robin Bailey
Michael Howe
Note: Previous casts of this Camelot company, both in New York and on tour, appear on page 418
of The Best Plays of 1981-1982.
A CHORUS LINE
Kristine
Sheila
Val
Mike
N.Y. Off Bway 4/15/75
N.Y. Bway 7/25/75
Renee Baughman
Cookie Vazquez 4/26/76
Deborah Geffner 10/76
P.J. Mann 9/78
Deborah Geffner 1/79
Christine Barker 3/79
Kerry Casserly 8/81
Christine Barker 10/81
Carole Bishop (name changed to Kelly Bishop 3/76)
Kathrynann Wright 8/76
Bebe Neuwirth 6/80
Susan Danielle 3/81
Jan Leigh Herndon 9/82
Jane Summerhays 9/82
Pamela Blair
Barbara Monte-Britton 4/26/76
Karen Jablons 10/76
Mitzi Hamilton 3/1/77
Karen Jablons 12/77
Mitzi Hamilton 3/78
Lois Englund 7/78
Deborah Henry 10/79
Mitzi Hamilton 10/80
Joanna Zercher 6/81
Mitzi Hamilton 7/81
Wayne Cilento
Jim Litten 6/77
438 THE BEST PLAYS OF 1982-1983
Jeff Hyslop 1/79
Don Correia 6/79
Buddy Balou' 6/80
Cary Scott Lowenstein 7/81
Scott Wise 7/82
Danny Herman 4/83
Larry Clive Clerk
Jeff Weinberg 10/76
Clive Clerk 1/77
Adam Grammis 2/77
Paul Charles 12/77
R.J. Peters 3/79
T. Michael Reed 11/79
Michael-Day Pitts 3/80
Donn Simione 4/81
J. Richard Hart 7/81
Scott Plank 9/82
Brad JeflFries 11/82
Maggie Kay Cole
Lauree Berger 4/26/76
Donna Drake 2/77
Christina Saffran 7/78
Betty Lynd 6/5/79
Marcia Lynn Watkins 8/79
Pam Klinger 9/81
Richie Ronald Dennis
Winston DeWitt Hemsley 4/26/76
Edward Love 6/77
A. William Perkins 12/77
(name changed to Wellington Perkins 6/78)
Larry G. Bailey 1/79
Carleton T. Jones 3/80
Ralph Glenmore 6/80
Kevin Chinn 1/81
Judy Patricia Garland
Sandahl Bergman 4/26/76
Murphy Cross 12/77
Victoria Tabaka 11/78
Joanna Zercher 7/79
Angelique Ilo 8/79
Jannet Horsley 9/80
(name changed to Jannet Moranz 2/81)
Melissa Randel 12/81
Don Ron Kuhlman
David Thome 4/26/76
Dennis Edenfield 3/80
Michal Weir 8/81
Michael Danek 10/81
Randy Clements 1 1/82
Michael Danek 12/82
Bebe Nancy Lane
Gillian Scalaci 4/26/76
Rene Ceballos 9/77
Karen Meister 1/78
CAST REPLACEMENTS AND TOURING COMPANIES 439
Rene Ceballos 3/81
Pamela Ann Wilson 1/82
Connie Baayork Lee
Lauren Kayahara 4/26/76
Janet Wong 2/77
Cynthia Carrillo Onrubia 11/79
Janet Wong 2/77
Lauren Tom 10/80
Lily-Lee Wong 10/81
Diana Priscilla Lopez
Barbara Luna 4/26/76
Carole Schweid 5/7/76
Rebecca York 8/76
Loida Iglesias 12/76
Chris Bocchino 10/78
Diane Fratantoni 9/79
Chns Bocchino 12/79
Gay Marshall 7/80
Chris Bocchmo 8/80
Dorothy Tancredi 3/82
Diane Fratantoni 6/82
Kay Cole 8/82
Roxann Caballero 10/82
Gay Marshall 11/82
Roxann Caballero 1/83
Loida Santos (prev. known as Loida Iglesias) 3/83
Zach Robert LuPone
Joe Bennett 4/26/76
Eivind Harum 10/76
Robert LuPone 1/31/77
Kurt Johnson 5/77
Clive Clerk 7/77
Kurt Johnson 8/77
Anthony Inneo 8/78
Eivmd Harum 10/78
Scott Pearson 8/79
Tim Millett 3/81
Steven Boockvor 8/23/82
Mark Cameron Mason
Paul Charles 10/76
Timothy Scott 12/77
R.J. Peters 4/78
Timothy Wahrer 3/79
Dennis Daniels 5/80
Timothy Wahrer 6/80
Gregory Brock 8/80
Danny Herman 5/81
Eraser Ellis 11/82
Danny Herman 12/82
Chris Marshall 4/83
Cassie Donna McKechnie
Ann Reinking 4/26/76
Donna McKechnie 9/27/76
Ann Reinking 11/29/76
Vicki Fredericks 2/9/77
440 THE BEST PLAYS OF 1982-1983
Pamela Sousa \\/\4/ll
Candace Tovar 1/78
Pamela Sousa 3/78
Cheryl Clark 12/78
Deborah Henry 10/80
Pamela Sousa 11/81
Al Don Percassi
Bill Nabel 4/26/76
John Mineo 2/77
Ben Lokey 4/77
Don Percassi 7/77
Jim Corti 1/79
Donn Simione 9/79
James Warren 5/80 (name changed to James Young 9/80)
Jerry Colker 5/81
Scott Plank 11/82
Buddy Balou' 3/83
Greg Michel Stuart
Justin Ross 4/26/76
Danny Weathers 6/78
Ronald A. NaVarre 9/83
Bobby Thomas J. Walsh
Christopher Chadman 6/77
Ron Kurowski 1/78
Tim Cassidy 11/78
Ronald Stafford 3/79
Michael Gorman 8/80
Matt West 9/80
Paul Sammy Williams
George Pesaturo 4/26/76
Rene Clemente 2/78
Timothy Wahrer 9/81
Rene Clemente 10/81
Tommy Aguilar 5/82
Note: Original casts of the three touring companies of ^ Chorus Line appear on pages 472-3 of The
Best Plays of 1978-1979.
CLOUD 9
New York 5/18/81
Ellen: Mrs. Saunders: Betty E. Katherine Kerr
Kate MacGregor Stewart 3/2/82
Cynthia Harris 6/29/82
Judith Barcroft 11/2/82
Cheryl McFadden 3/26/83
Edward: Victoria Concetta Tomei
Caroline Lagerfelt 7/10/82
Sherry Steiner 10/19/82
Elaine Bromka 5/3/83
Betty: Gerry Zeljko Ivanek
Michael Jeter 4/13/82
John Pankow 6/29/82
Lenny Von Dohlen 10/26/82
Bill Sadler 4/26/83
CAST REPLACEMENTS AND TOURING COMPANIES
441
Clive; Edward
Joshua: Cathy
Maud; Lin
Harry Bagley; Martin
Jeffrey Jones
Ivar Brogger 6/26/82
Stephen Stout 12/28/82
Don Amendolia
Michael Jeter 6/29/82
Ian Trigger 10/22/82
James Lecesne 11/23/82
Veronica Castang
Caroline Kava 7/13/82
Veronica Castang 1/25/83
Elizabeth Norment 4/5/83
Nicolas Surovy
Barry Cullison 9/21/82
CRIMES OF THE HEART
Meg MaGrath
Babe Botrelle
Lenny MaGrath
Barnette Lloyd
N. Y. Ojf Bway 12/9/80
N.Y. Bway 11/4/81
Mary Beth Hurt
Holly Hunter 6/8/82
Kathy Danzer 9/7/82
Mia Dillon
J. Smith-Cameron 8/3/82
Lizbeth Mackay
Caryn West 9/7/82
Peter MacNicol
Tim Choate 8/3/82
Los Angeles 4/17/83
Mary Beth Hurt
Mia Dillon
Lizbeth Mackay
Peter MacNicol
THE DINING ROOM
New York 2/24/82
Remak Ramsay
Charles Kimbrough 6/22/82
Rex Robbins 1/83
John Shea
John Getz 6/15/82
Nicholas Hormann 4/83
Lois de Banzie
Debra Mooney 8/10/82
Pippa Pearthree
Patricia Wettig 5/29/82
Cara Duff-MacCormick 4/83
Washington, DC. 6/5/82
Barry Nelson
Frances Sternhagen
DREAMGIRLS
Effie Melody White
Lorrell Robinson
C. C. White
New York 12/20/81
Jennifer Holliday
Vanessa Townsell 12/6/82
Loretta Devine
Obba Babatunde
Los Angeles 3/20/83
Jennifer Holliday
Arnetia Walker
Lawrence Clayton
442
THE BEST PLAYS OF 1982-1983
James Thunder Early
Curtis Taylor Jr.
Deena Jones
Michelle Morris
Marty
Cleavant Derricks
Ben Harney
Sheryl Lee Ralph
Deborah Burrell
Terry Burrell 3/83
Vondie Curtis-Hall
Clinton Derricks-Carroll
Larry Riley
Linda Leilani Brown
Deborah Burrell
Weyman Thompson
EVITA
Eva Peron
New York 9/25/79
Patti LuPone (eves.)
Terri Klausner (mats.)
Nancy Opel (mats.) 10/80
Derin Altay (eves.) 1/12/81
Loni Ackerman (eves.) 4/5/82
Pamela Blake (mats.) 5/25/83
Florence Lacey (eves.) 5/30/83
Bob Gunton
David Cryer 10/20/80
Mandy Patinkin
James Stein 10/20/80
Anthony Crivello 4/5/82
Scott Holmes 4/5/83
Note: Touring company casts, including replacements, of Evita appear on page 423 of The Best Plays
of 1981-1982.
Juan Peron
Che
THE FANTASTICKS
El Gallo
New York 5/3/60
Jerry Orbach
Gene Rupert
Bert Convy
John Cunningham
Don Stewart 1/63
David Cryer
Keith Charles 10/63
John Boni 1/13/65
Jack Metter 9/14/65
George Ogee
Keith Charles
Tom Urich 8/30/66
John Boni 10/5/66
Jack Crowder 6/13/67
Nils Hedrick 9/19/67
Keith Charles 10/9/67
Robert Goss 11/7/67
Joe Bellomo 3/11/68
Michael Tartel 7/8/69
Donald Billett 6/70
Joe Bellomo 2/15/72
David Rexroad 6/73
David Snell 12/73
I
CAST REPLACEMENTS AND TOURING COMPANIES 443
Hal Robinson 4/2/74
Chapman Roberts 7/30/74
David Brummel 2/18/75
David Rexroad 8/31/75
Roger Brown 9/30/75
David Rexroad 9/1/76
Joseph Galiano 10/14/76
Douglas Clark 5/2/78
Joseph Galiano 5/23/78
Richard Muenz 10/78
Joseph Galiano 2/20/79
George Lee Andrews 11/27/79
Sal Provenza 5/13/80
Lance Brodie 9/8/81
Roger Neil 5/17/83
Luisa Rita Gardner
Carla Huston
Liza Stuart 12/61
Eileen Fulton
Alice Cannon 9/62
Royce Lennelle
B. J. Ward 12/1/64
Leta Anderson 7/13/65
Carole Demas 11/22/66
Anne Kaye 5/28/68
Carolyn Mignini 7/29/69
Virginia Gregory 7/27/70
Leta Anderson
Marti Morris 3/7/72
Sharon Werner 12/73
Sarah Rice 6/24/74
Cheryl Home 7/1/75
Sarah Rice 7/29/75
Betsy Joslyn 3/23/76
Kathy Vestuto 7/18/78
Betsy Joslyn 8/8/78
Kathryn Morath 11/28/78
Debbie McLeod 4/17/79
Joan Wiest 10/9/79
Marti Morris 11/6/79
Carol Ann Scott 5/20/80
Beverly Lambert 9/2/80
Judith Blazer 12/1/80
Elizabeth Bruzzese 8/15/81
Virginia Gregory 12/7/82
Matt Kenneth Nelson
Gino Conforti
Jack Blackton 10/63
Paul Giovanni
Ty McConnell
Richard Rothbard
Gary Krawford
Bob Spencer 9/5/64
Erik Howell 6/28/66
Gary Krawford 12/12/67
Steve Skiles 2/6/68
444
THE BEST PLAYS OF 1982-1983
Craig Carnelia 1/69
Samuel D. Ratcliffe 8/5/69
Michael Glenn-Smith 5/26/70
Jimmy Dodge 9/20/70
Geoffrey Taylor 8/31/71
Erik Howell 3/14/72
Phil Killian 7/4/72
Richard Lincoln 9/72
Bruce Cryer 7/24/73
Phil Killian 9/11/73
Michael Glenn-Smith 6/17/74
Ralph Bruneau 10/29/74
Bruce Cryer 9/30/75
Jeff Knight 7/19/77
Michael Glenn-Smith 1/9/79
Christopher Seppe 3/6/79
Howard Lawrence 12/29/81
Note: As of May 31, 1983, 30 actors had played the role of El Gallo, 26 actresses had played Luisa,
and 22 actors had played Matt.
FORBIDDEN BROADWAY
42nd STREET
New York 5/4/82
Gerard Alessandrini
Jason Alexander 4/5/83
Fred Barton
Jeff Etjen 4/5/83
Bill Carmichael
Brad Garside 4/5/83
Nora Mae Lyng
Ann Morrison 4/5/83
Chloe Webb
Marilyn Pasekoff 4/5/83
Los Angeles 4/26/83
Gerard Alessandrini
Fred Barton
Bill Carmichael
Dee Hoty
Chloe Webb
Julian Marsh
Dorothy Brock
Peggy Sawyer
Billy Lawlor
Maggie Jones
New York 8/25/80
Jerry Orbach
Tammy Grimes
Milicent Martin 10/28/81
Elizabeth Allen 4/26/83
Wanda Richert
Nancy Sinclair 10/15/80
Karen Prunczik 10/20/80
Wanda Richert 10/25/80
Lisa Brown 7/26/82
Lee Roy Reams
Carole Cook
Peggy Cass 9/81
Jessica James 10/4/82
Chicago 1/1/83
Ron Holgate
Elizabeth Allen
Milicent Martin 4/26/83
Nancy Sinclair
Jim Walton
Bibi Osterwald
Bert Barry
Joseph Bova
William Linton
I
FORBIDDEN BROADWAY— Members of the Los Angeles company (Bill
Carmichael, Chloe Webb, Gerard Alessandrini and Dee Hoty) in a scene from
the long-running off-Broadway revue
GENIUSES
Sky Bullene
Jocko Pyle
New York 5/13/82
Joanne Camp
Christine Ebersole 7/6/82
Morgan Fairchild 12/28/82
Joanne Camp 3/1/83
Michael Gross
Peter Evans 5/24/82
JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT
Joseph
NY. OffB'way 11/18/81
NY. Bway 1/27/82
Bill Hutlon
Allen Fawcett 6/24/82
New Orleans 3/2/82
Michael Croach
Bill Hutton 6/24/82
446
THE BEST PLAYS OF 1982-1983
Narrator
Andy Gibb 12/1/82
Doug Voet 1/13/83
David Cassidy 3/6/83
Laurie Beechman
Sharon Brown 12/1/82
Andy Gibb
Sharon Brown
LITTLE SHOP OF HORRORS
Mushnik
A udrey
Seymour
Audrey II
MASS APPEAL
Father Tim Farley
Mark Dolson
New York 7/27/82
Hy Anzell
Fyvush Finkel 3/83
Ellen Greene
Faith Prince 3/83
Lee Wilkof
Brad Moranz 3/83
Martin P. Robinson
Anthony B. Asbury 3/83
NY. Off B way 4/22/80
NY. B'way 11/12/81
Milo O'Shea
Milo O'Shea
Eric Roberts
Michael O'Keefe
Los Angeles 4/27/83
Hy Anzell
Ellen Greene
Lee Wilkof
Martin P. Robinson
Chicago 7/21/82
Milo O'Shea
Adam Redfield
"MASTER HAROLD"
Sam
Willie
Hally
NINE
Guido Contini
Luisa Contini
Liliane La Fleur
. . AND THE BOYS
New York 5/4/82
Zakes Mokae
James Earl Jones 11/12/82
Danny Glover
Delroy Lindo 2/3/83
Lonny Price
New York 5/9/82
Raul Julia
Bert Convy 1/10/83
Raul Julia 1/24/83
Sergio Franchi 5/9/83
Karen Akers
Maureen McGovern 12/6/82
Liliane Montevecchi
Priscilla Lopez 11/8/82
Liliane Montevecchi 11/22/82
Boston 3/15/83
James Earl Jones
Delroy Lindo
Charles Michael Wright
CAST REPLACEMENTS AND TOURING COMPANIES
447
Car la
Claudia
Anita Morris
Beth McVey 5/2/83
Anita Morns 5/16/83
Shelly Burch
Kim Criswell 1/31/83
THE PIRATES OF PENZANCE
Pirate King
Ruth
Mabel Stanley
Major-General Stanley
Frederic
Sergeant
New York 1/8/81
Kevin Kline
Treat Williams 8/25/81
Walter Niehenke 1/12/82
Treat Williams 1/26/82
Gary Sandy 3/25/82
James Belushi 7/27/82
Wally Kurth 9/14/82
Estelle Parsons
Kaye Ballard 9/15/81
Marsha Bagwell 9/28/82
Linda Ronstadt
Karla DaVito 6/2/81
Maureen McGovern 9/8/81
Kathryn Morath 2/16/82
Maureen McGovern 3/2/82
Pam Dawber 6/29/82
Maureen McGovern 7/20/82
George Rose
George S. Irving 12/8/81
Joseph Pichette 3/9/82
George Rose 3/16/82
Rex Smith
Robby Benson 8/11/81
Patrick Cassidy 1/5/82
Rex Smith 4/13/82
Patrick Cassidy 4/27/82
Peter Noone 7/27/82
Tony Azito
David Garrison 12/8/81
Tony Azito 3/16/82
Note: Casts of touring company and London company of The Pirates of Penzance appear on pages
427 and 428 of The Best Plays' of 1981-82.
PUMP BOYS AND DINETTES
Sew York 2/4/82
Jim
Rhetta Cupp
Jim Wann
Loudon Wainwright III 8/25/82
Tom Chapin 1/5/83
Cass Morgan
Ronee Blakley 9/29/82
Cass Morgan 1/3/83
Margaret LaMee 2/9/83
448
THE BEST PLAYS OF 1982-1983
SISTER MARY IGNATIUS EXPLAINS IT ALL FOR YOU
Sister Mary Ignatius
Aloysius Benheim
Dame Ellen Terry
Meg
New York 10/21/81
Elizabeth Franz
Nancy Marchand 9/28/82
Mary Louise Wilson 3/15/83
Jeff Brooks
Christopher Durang 7/13/82
Jeff Brooks 7/27/82
Christopher Durang 12/24/82
Jeff Brooks 12/28/82
Brian Keeler
Mary Catherine Wright
Deborah Rush 5/24/82
Alice Play ten 7/13/82
Polly Draper
Carolyn Mignini 5/24/82
A SOLDIER^S PLAY
Tech. Sgt. Vernon Waters
Capt. Richard Davenport
Pvt. C.J. Memphis
New York 11/20/81
Adolph Caesar
Arthur French 8/17/82
Adolph Caesar 10/5/82
Arthur French
Charles Brown
Larry Riley
David Allen Grier 8/17/82
Larry Riley 10/5/82
#i Los Angeles 8/19/82
#2 Chicago 6/3/83
# 1 Adolph Caesar
#2 Adolph Caesar
# 1 Robert Hooks
#2 Charles Brown
# 1 Larry Riley
#2 Ben Epp
SOPHISTICATED LADIES
New York 3/1/81
Gregory Hines
Maurice Hines 1/5/82
Judith Jamison
Phyllis Hyman
Priscilla Baskerville
Hinton Battle
Gary Chapman 1/5/82
TA. Stephens 10/82
P.J. Benjamin
Don Correia 3/29/82
#7 Las Vegas 12/28/82
#2 Pittsburgh 5/24/83
# 1 Harold Nicholas
#2 Gregg Burge
Ira Hawkins
# 1 Paula Kelly
#2 Janet Hubert
# 1 Freda Payne
#2 Dee Dee Bridgewater
# 1 Freda Payne
#2 Dee Dee Bridgewater
# 1 Eugene Fleming
#2 Bruce Anthony Davis
# 1 George Ratliff
#2 Jamie Rocco
CAST REPLACEMENTS AND TOURING COMPANIES
449
Terri Klausner
Donna Drake 1/5/82
# 1 Beth Bowles
#2 Christina Saffran
Gregg Burge # 1 Garry Q. Lewis
Michael Scott Gregory 1/5/82 #2 Gregg Burge
Note: Cast of the first touring company of Sophisticated Ladies appears on page 428 of The Best Plays
of 1981-1982. Note, too, that Mr. Hines's assignments in New York have been taken over in Tour
#2 by a dancer (Mr. Burge) and a singer (Mr. Hawkins), and that the songs sung by both Miss Hyman
and Miss Baskerville in New York have been assumed by Miss Payne in Tour #1 and by Miss
Bridgewater in Tour #2.
Chicago 11/8/82
Ann Miller
Toni Kaye 2/10/83
Carol Lawrence 3/14/83
Ann Miller 4/27/83
Mickey Rooney
SUGAR BABIES
New York 10/8/79
Ann Miller
Helen Gallagher 9/21/81
Ann Miller 10/12/81
Mickey Rooney
Joey Bishop 2/2/81
Mickey Rooney 3/2/81
Rip Taylor 6/29/81
Mickey Rooney 7/8/81
Rip Taylor 12/17/81
Mickey Rooney 12/26/81
Eddie Bracken 5/31/82
Mickey Rooney 6/14/82
Note: Cast of first touring company of Sugar Babies appears on page 428^29 of The Best Plays of
1981-1982.
TORCH SONG TRILOGY
Arnold Beckoff
Mrs. Beckoff
David
Ed
N.Y. OffB'way 1/15/82
N.Y. Bway 6/10/82
Harvey Fierstein
Harvey Fierstein
Donald Corren (mats.) 4/83
Estelle Getty
Estelle Getty
Barbara Barrie 1/31/83
Estelle Getty 2/14/83
Matthew Broderick
Fisher Stevens 3/21/82
Fisher Stevens
Joel Crothers
Court Miller
Court Miller
WOMAN OF THE YEAR
New York 3/29/81
Tess Harding Lauren Bacall
Raquel Welch 12/1/81
Lauren Bacall 12/15/81
L
450 THE BEST PLAYS OF 1982-1983
Raquel Welch 6/29/82
Debbie Reynolds 2/11/83
Louise Troy 3/5/83
Debbie Reynolds 3/8/83
Sam Craig Harry Guardino
Jamie Ross 12/1/81
Harry Guardino 12/15/81
Jamie Ross 6/29/82
Jan Donovan Marilyn Cooper
Carol Arthur 10/13/81
Marilyn Cooper 10/20/81
Note: Performances of Woman of the Year were suspended between 1/2/83 and 2/11/83.
FACTS AND
FIGURES
LONG RUNS ON BROADWAY
The following shows have run 500 or more continuous performances in a single
production, usually the first, not including previews or extra non-profit perfor-
mances, allowing for vacation layoffs and special one-booking engagements, but
not including return engagements after a show has gone on tour. In all cases the
numbers were obtained directly from the shows' production offices. Where there
are title similarities, the production is identified as follows: (p) straight play
version, (m) musical version, (r) revival.
THROUGH MAY 31, 1983
(PLAYS MARKED WITH ASTERISK WERE STILL PLAYING JUNE 1, 1983)
Number
Plays Performances
Grease 3,388
*A Chorus Line 3,249
Fiddler on the Roof 3,242
Life With Father 3,224
Tobacco Road 3,182
Hello, Dolly 2,844
*Oh! Calcutta! (r) 2,840
My Fair Lady 2,717
Annie 2,377
Man of La Mancha 2,328
Abie's Irish Rose 2,327
Oklahoma! 2,212
Pippin 1,944
South Pacific 1,925
The Magic Show 1,920
Deathtrap 1,793
Gemini 1,788
Harvey 1,775
Dancin' 1,774
Hair 1,750
The Wiz 1,672
Born Yesterday 1,642
The Best Little Whorehouse in
Texas 1,639
Ain't Misbehavin' 1,604
Mary, Mary 1,572
The Voice of the Turtle 1,557
*Evita 1,535
Barefoot in the Park 1,530
Mame (m) 1,508
Same Time, Next Year 1,453
Arsenic and Old Lace 1,444
The Sound of Music 1,443
Number
Plays Performances
How To Succeed in Business
Without Really Trying 1,417
Hellzapoppin 1,404
The Music Man 1,375
Funny Girl 1,348
Mummenschanz 1,326
Oh! Calcutta! 1,314
Angel Street 1,295
Lightnin' 1,291
Promises, Promises 1,281
The King and I 1,246
Cactus Flower 1,234
Sleuth 1,222
1776 1,217
Equus 1,209
Sugar Babies 1,208
Guys and Dolls 1,200
Cabaret 1,165
Mister Roberts 1,157
*42nd Street 1,154
Annie Get Your Gun 1,147
The Seven Year Itch 1,141
Butterflies Are Free 1,128
Pins and Needles 1,108
Plaza Suite 1,097
They're Playing Our Song 1,082
Kiss Me, Kate 1,070
Don't Bother Me, I Can't Cope. 1,065
The Pajama Game 1,063
Shenandoah 1,050
The Teahouse of the August
Moon 1,027
*Amadeus 1,022
453
454
THE BEST PLAYS OF 1982-1983
Plays
Number
Performances Plays
Number
Performances
Damn Yankees
Never Too Late
Any Wednesday
A Funny Thing Happened on
the Way to the Forum
The Odd Couple
Anna Lucasta
Kiss and Tell
Dracula (r)
Bells Are Ringing
The Moon Is Blue
Beatlemania
The Elephant Man
Luv
Chicago
Applause
Can-Can
Carousel
Hats Off to Ice
Fanny
Children of a Lesser God
Follow the Girls
Camelot
I Love My Wife
The Bat
My Sister Eileen
No, No, Nanette (r)
Song of Norway
Chapter Two
A Streetcar Named Desire
Barnum
Comedy in Music
Raisin
That Championship Season ....
You Can't Take It With You. . .
La Plume de Ma Tante
Three Men on a Horse
The Subject Was Roses
Inherit the Wind
No Time for Sergeants
Fiorello!
Where's Charley?
The Ladder
Forty Carats
The Prisoner of Second Avenue.
Oliver
The Pirates of Penzance (1980 r)
Woman of the Year
1,019 Sophisticated Ladies
1,007 Bubbling Brown Sugar
982 State of the Union
The First Year
964 You Know I Can't Hear You
964 When the Water's Running. .
957 Two for the Seesaw
956 Death of a Salesman
925 For Colored Girls, etc
924 Sons o' Fun
924 Candide (mr)
920 Gentlemen Prefer Blondes
916 The Man Who Came to Dinner.
901 Call Me Mister
898 West Side Story
896 High Button Shoes
892 Finian's Rainbow
890 Claudia
889 The Gold Diggers
888 Jesus Christ Superstar
887 Carnival
882 The Diary of Anne Frank
873 I Remember Mama
872 Tea and Sympathy
867 Junior Miss
864 Last of the Red Hot Lovers . . . .
861 Company
860 Seventh Heaven
857 Gypsy (m)
855 The Miracle Worker
854 Da
849 The King and I (r)
847 Cat on a Hot Tin Roof
844 Li'l Abner
837 Peg o' My Heart
835 The Children's Hour
835 Purlie
832 Dead End
806 The Lion and the Mouse
796 White Cargo
795 Dear Ruth
792 East Is West
789 Come Blow Your Horn
780 The Most Happy Fella
780 The Doughgirls
774 The Impossible Years
772 Irene
770 Boy Meets Girl
767
766
765
760
755
750
742
742
742
740
740
739
734
732
727
725
722
720
720
719
717
714
712
710
706
705
704
702
700
697
696
694
693
692
691
688
687
686
686
683
680
677
676
671
670
670
669
LONG RUNS ON BROADWAY
455
Plays
Number
Performances Plays
Number
Performances
Beyond the Fringe 667
Who's Afraid of Virginia Woolf? 664
BHthe Spirit 657
A Trip to Chinatown 657
The Women 657
Bloomer Girl 654
The Fifth Season 654
Rain 648
Witness for the Prosecution .... 645
Call Me Madam 644
Janie 642
The Green Pastures 640
Auntie Mame (p) 639
*Joseph and the Amazing
Technicolor Dreamcoat (r) . . 638
A Man for All Seasons 637
The Fourposter 632
Two Gentlemen of Verona (m) . 627
The Tenth Man 623
Is Zat So? 618
Anniversary Waltz 615
The Happy Time (p) 614
Separate Rooms 613
Affairs of State 610
Star and Garter 609
The Student Prince 608
Sweet Charity 608
Bye Bye Birdie 607
Irene (r) 604
Broadway 603
Adonis 603
*Dreamgirls 601
Street Scene (p) 601
Kiki 600
Flower Drum Song 600
A Little Night Music 600
Don't Drink the Water 598
Wish You Were Here 598
A Society Circus 596
Absurd Person Singular 592
Blossom Time 592
A Day in Hollywood/A Night
in the Ukraine 588
The Me Nobody Knows 586
The Two Mrs. Carrolls 585
Kismet 583
Detective Story 581
Brigadoon 581
No Strings 580
Brother Rat 577
Show Boat 572
The Show-Off 571
Sally 570
Golden Boy (m) 568
One Touch of Venus 567
Happy Birthday 564
Look Homeward, Angel 564
Morning's at Seven (r) 564
The Glass Menagerie 561
I Do! I Do! 560
Wonderful Town 559
Rose Marie 557
Strictly Dishonorable 557
Sweeney Todd, the Demon
Barber of Fleet Street 557
A Majority of One 556
The Great White Hope 556
Toys in the Attic 556
Sunrise at Campobello 556
Jamaica 555
Stop the World— I Want to Get
Off 555
Florodora 553
*Pump Boys and Dinettes 553
Ziegfeld Follies (1943) 553
Dial "M" for Murder 552
Good News 551
Peter Pan (r) 551
Let's Face It 54"*
Milk and Honey 543
Within the Law 541
The Music Master 540
Pal Joey (r) 540
What Makes Sammy Run? 540
The Sunshine Boys 538
What a Life 538
Crimes of the Heart 535
The Unsinkable Molly Brown . . 532
The Red Mill (r) 531
A Raisin in the Sun 530
Godspell 527
The Solid Gold Cadillac 526
Irma La Douce 524
The Boomerang 522
Follies 521
Rosalinda 521
456
THE BEST PLAYS OF 1982-1983
Number
Plays Performances
The Best Man 520
Chauve-Souris 520
Blackbirds of 1928 518
The Gin Game 517
Sunny 517
Victoria Regina 517
Fifth of July 511
Half a Sixpence 511
The Vagabond King 511
The New Moon 509
The World of Suzie Wong 508
The Rothschilds 507
Number
Plays Performances
Sugar 505
Shuffle Along 504
Up in Central Park 504
Carmen Jones 503
The Member of the Wedding. . . 501
Panama Hattie 501
Personal Appearance 501
Bird in Hand 500
Room Service 500
Sailor, Beware! 500
Tomorrow the World 500
LONG RUNS OFF BROADWAY
Number
Plays Performances
♦The Fantasticks 9,600
The Threepenny Opera 2,61 1
Godspell 2,124
Jacques Brel 1,847
Vanities 1,785
You're a Good Man Charlie
Brown 1,547
The Blacks 1,408
One Mo' Time 1,372
Let My People Come 1,327
The Hot 1 Baltimore 1,166
I'm Getting My Act Together
and Taking It on the Road . . 1,165
Little Mary Sunshine 1,143
El Grande de Coca-Cola 1,114
One Flew Over the Cuckoo's
Nest (r) 1,025
The Boys in the Band 1,000
Your Own Thing 933
Curley McDimple 931
Leave It to Jane (r) 928
The Mad Show 871
*Cloud 9 847
Scrambled Feet 831
The Effect of Gamma Rays on
Man-in-the-Moon
Marigolds 819
A View From the Bridge (r) . . . 780
The Boy Friend (r) 763
The Pocket Watch 725
Number
Plays Performances
The Connection 722
The Passion of Dracula 714
Adaptation & Next 707
Oh! Calcutta! 704
Scuba Duba 692
The Knack 685
The Club 674
The Balcony 672
*Sister Mary Ignatius Explains
It All for You & The Actor's
Nightmare 669
America Hurrah 634
Hogan's Goat 607
The Trojan Women (r) 600
Krapp's Last Tape & The Zoo
Story 582
The Dumbwaiter & The
Collection 578
Dames at Sea 575
The Crucible (r) 571
The Iceman Cometh (r) 565
♦The Dining Room 552
The Hostage (r) 545
Six Characters in Search of an
Author (r) 529
The Dirtiest Show in Town .... 509
Happy Ending & Day of
Absence 504
The Boys From Syracuse (r) ... 500
NEW YORK CRITICS AWARDS 457
NEW YORK CRITICS AWARDS, 1935-36 to 1982-83
j^ Listed below are the New York Drama Critics Circle Awards from 1935-36 through
" 1982-83 classified as follows: (1) Best American Play, (2) Best Foreign Play, (3) Best
Musical, (4) Best, regardless of category (this category was established by new voting rules
a in 1962-63 and did not exist prior to that year).
1935_36— (1) Winterset
1936-37— (1) High Tor
1937-38— <1) Of Mice and Men, (2) Shadow and
Substance
1938-39— (1) No award, (2) The White Steed
1939^K)— (1) The Time of Your Life
1940^1— (1) Watch on the Rhine, (2) The Corn
Is Green
1941^2— (1) No award, (2) Blithe Spirit
1942^3— (1) The Patriots
1943-44 — (2) Jacobowsky and the Colonel
1944_^5_(1) The Glass Menagerie
1945^6— (3) Carousel
1946-^7— <1) All My Sons, (2) No Exit, (3)
Brigadoon
1947^8— (1) A Streetcar Named Desire, (2)
The Winslow Boy
1948^9— ( 1) Death of a Salesman, (2) The Mad-
woman of Chaillot, (3) South Pacific
1949-50— (1) The Member of the Wedding (2)
The Cocktail Party, (3) The Consul
1950-51— <1) Darkness at Noon, (2) The Lady's
Not for Burning, (3) Guys and Dolls
1951-52— <1) I Am a Camera, (2) Venus Ob-
served, (3) Pal Joey (Special citation
to Don Juan in Hell)
1952-53— (1) Picnic, (2) The Love of Four Colo-
nels, (3) Wonderful Town
1953-54— (1) Teahouse of the August Moon, (2)
Ondine, (3) The Golden Apple
1954-55— (1) Cat on a Hot Tin Roof, (2) Witness
for the Prosecution, (3) The Saint of
Bleecker Street
1955-56— (1) The Diary of Anne Frank, (2)
Tiger at the Gates, (3) My Fair Lady
1956-57 — (1) Long Day's Journey Into Night,
(2) The Waltz of the Toreadors, (3)
The Most Happy Fella
1957-58— (1) Look Homeward, Angel, (2) Look
Back in Anger, (3) The Music Man
1958-59— (1) A Raisin in the Sun, (2) The Visit,
(3) La Plume de Ma Tante
1959-60— (1) Toys in the Attic, (2) Five Finger
Exercise, (3) Fiorello!
1960-61— <1) All the Way Home. (2) A Taste of
Honey, (3) Carnival
1961-62— (1) The Night of the Iguana, (2) A
Man for All Seasons, (3) How to Suc-
ceed in Business Without Really Try-
ing
1962-63— (4) Who's Afraid of Virginia Woolf?
(Special citation to Beyond the
Fringe)
1963-64— (4) Luther, (3) Hello, Dolly! (Special
citation to The Trojan Women)
1964-65— (4) The Subject Was Roses, (3) Fid-
dler on the Roof
1965-66 — (4) The Persecution and Assassina-
tion of Marat as Performed by the In-
mates of the Asylum of Charenton
Under the Direction of the Marquis
de Sade, (3) Man of La Mancha
1966-67— (4) The Homecoming, (3) Cabaret
1967-68 — (4) Rosencrantz and Guildenstern
Are Dead, (3) Your Own Thing
1968-69— (4) The Great White Hope, (3) 1776
1969-70— (4) Borstal Boy, (1) The Eff-ect of
Gamma Rays on Man-in-the-Moon
Marigolds, (3) Company
1970-71— (4) Home, (1) The House of Blue
Leaves, (3) Follies
1971-72— (4) That Championship Season, (2)
The Screens, (3) Two Gentlemen of
Verona (Special citations to Sticks
and Bones and Old Times)
1972-73— (4) The Changing Room, (1) The
Hot 1 Baltimore, (3) A Little Night
Music
1973-74— (4) The Contractor, (1) Short Eyes,
(3) Candide
1974-75— (4) Equus, (1) The Taking of Miss
Janie, (3) A Chorus Line
1975-76 — (4) Travesties, (1) Streamers, (3) Pa-
cific Overtures
1976-77 — (4) Otherwise Engaged, (1) American
Buffalo, (3) Annie
1977-78— (4) Da, (3) Ain't Misbehavin'
1978-79— (4) The Elephant Man, (3) Sweeney
Todd, the Demon Barber of Fleet
Street
1979-80— (4) Talley's Folly, (2) Betrayal, (3)
Evita (Special citation to Peter
Brook's Le Centre International de
Creations Theatrales for its repertory)
1980-81— (4) A Lesson From Aloes. (1) Crimes
of the Heart (Special citations to Lena
458 THE BEST PLAYS OF 1982-1983
Home: The Lady and Her Music and las Nickleby, (1) A Soldier's Play
the New York Shakespeare Festival 1982-83— (4) Brighton Beach Memoirs, (2)
production of The Pirates of Pen- Plenty, (3) Little Shop of Horrors
zance) (Special citation to Young Play-
1981-82— (4) The Life & Adventures of Nicho- wrights Festival)
NEW YORK DRAMA CRITICS CIRCLE VOTING, 1982-83
The New York Drama Critics Circle voted Neil Simon's Brighton Beach
Memoirs the best play of the season on a fourth multiple-choice ballot, after no
play received a majority of first choices on the first ballot. With 3 points given
for a critic's first choice, 2 for second and 1 for third, in order to win on this ballot
under the Circle's voting rules a play must receive a point total of three times the
number of members present and voting (16 without the proxies), divided by two,
plus one, i.e. 25 points. Brighton Beach Memoirs led on every ballot including the
first, on which only the critics' first choices were named as follows, including 3
proxies: Brighton Beach Memoirs 6 (Clive Barnes, John Beaufort, Richard
Hummler, Hobe Morrison, Marilyn Stasio, Edwin Wilson), 'night, Mother 3 (Mel
Gussow, Don Nelsen, John Simon), Plenty 3 (Howard Kissel, Wilham
Raidy, Frank Rich), Painting Churches 2, (Glenne Currie, Edith Oliver), Pas-
sion 1 (Ted Kalem), Top Girls 1 (Julius Novick), Quartermaine's Terms 1 (Allan
Wallach), Angels Fall 1 (Douglas Watt), Edmond 1 (Michael Feingold).
In the shifting weight of proportional scoring, with a couple of critics express-
ing as much rooting interest as esthetic judgment in the way they voted, Brighton
Beach Memoirs gained ground through two ballots and finally attracted the
necessary number of points to win, 25, in competition with 'night. Mother (23),
Plenty (11), Quarter maine's Terms (11), Top Girls (8), Angels Fall (4), Moose
Murders (4), Passion (3), Painting Churches (3), Edmond (2), Skirmishes (1),
Private Lives (1, an ineligible selection).
Having named an American play its best of bests, the Circle proceeded to vote
on a best foreign play. David Hare's Plenty was the front-runner on the first-
choice ballot with 8 (Barnes, Feingold, Gussow, Kissel, Nelsen, Raidy, Rich,
Stasio) in competition with Quartermaine's Terms 5 (Hummler, Morrison, Oli-
ver, Simon, Wallach), Top Girls 4 (Beaufort, Currie, Novick, Wilson) and
Passion 1 (Kalem). Though it did not have the necessary majority of first-place
votes on this ballot. Plenty won handily on the second, point-weighted ballot with
28 points in competition with Top Girls (23), Quartermaine's Terms (22),
Passion (13), Slab Boys (2), Skirmishes (2), Good (2), Teahouse (2), Rape Upon
Rape (1, a Henry Fielding play which had never before been produced in New
York).
Little Shop of Horrors by Alan Menken and Howard Ashman won the Circle's
citation as best musical on the first ballot with the necessary majority of 10
(Barnes, Currie, Feingold, Gussow, Hummler, Nelsen, Novick, Oliver, Rich,
Stasio) of 18 voting critics, in competition with Cats 4 (Beaufort, Kalem, Raidy,
Wallach) and 4 abstentions.
Before adjourning their 1983 voting meeting, the Circle voted a special citation
NEW YORK CRITICS AWARDS
459
to the Young Playwrights Festival co-sponsored by The Foundation of the
Dramatists Guild and Circle Repertory Company.
Hobe Morrison (Variety), William Raidy (Newhouse Papers) and Douglas
Watt (Daily News) were absent but voted by proxy on first ballots (Morrison for
play only). Walter Kerr (Times) and Jack Kroll (Xewsweek) were absent and not
voting.
FOURTH BALLOT FOR BEST PLAY
I
Critic
Clive Barnes
Post
John Beaufort
Monitor
Glenne Currie
UPI
Michael Feingold
Village Voice
Mel Gussow
Times
Richard Hummler
Variety
Ted Kalem
Time
Howard Kissel
Women's Wear
Don Nelsen
Daily Sews
Julius Novick
Village Voice
Edith Oliver
Sew Yorker
Frank Rich
Times
John Simon
Sew York
Marilyn Stasio
Post
Allan Wallach
Sewsday
Edwin Wilson
Wall St. Journal
1st Choice (3 pts.)
Brighton Beach
Memoirs
Brighton Beach
Brighton Beach
'night, Mother
'night, Mother
Brighton Beach
Brighton Beach
Plenty
'night. Mother
'night, Mother
Brighton Beach
'night. Mother
'night, Mother
Brighton Beach
'night. Mother
Brighton Beach
2d Choice (2 pts.)
Moose Murders
Angels Fall
Top Girls
Edmond
Plenty
Quartermaine
Moose Murders
Quartermaine
Plenty
Top Girls
Painting Churches
Plenty
Quartermaine
Quartermaine
Quartermaine
Top Girls
3d Choice (1 pt.)
Passion
Quartermaine's
Terms
Painting Churches
Plenty
Angels Fall
Skirmishes
Private Lives
'night. Mother
Brighton Beach
Passion
Top Girls
Passion
Angels Fall
Top Girls
Plenty
'night, Mother
SECOND BALLOT FOR BEST FOREIGN PLAY
Critic
1st Choice (3 pts.)
2d Choice (2 pts.)
3d Choice (1 pt.)
Barnes
Plenty
Passion
Top Girls
Beaufort
Top Girls
Quanermaine's
Terms
Plenty
Cume
Top Girls
Slab Boys
Plenty
Feingold
Plenty
Teahouse
Rape Upon Rape
Gussow
Plenty
Passion
Quartermaine
Hummler
Quartermaine
Skirmishes
Plenty
460
THE BEST PLAYS OF 1982-1983
Kalem
Passion
Quartermaine
Plenty
Kissel
Plenty
Quartermaine
Top Girls
Nelsen
Plenty
Top Girls
Passion
Novick
Top Girls
Passion
Good
Oliver
Top Girls
Quartermaine
Good
Rich
Plenty
Passion
Quartermaine
Simon*
Quartermaine
Top Girls
Stasio
Plenty
Quartermaine
Top Girls
Wallach
Quartermaine
Plenty
Passion
Wilson
Top Girls
Quartermaine
Plenty
♦Voted for only two plays, so that by the Circle's rules his choices counted for only 2 pts. and 1 pt.
CHOICES OF SOME OTHER CRITICS
Critic
Best Play
Best Musical
Casper Citron
Angels Fall
Cats
Modern SatelHte
Judith Crist
Torch Song Trilogy
My One and Only
WOR-TV, TV Guide,
Saturday Review
John Gambhng
Plenty
Cats
WOR Radio
Alvin Klein
Torch Song Trilogy
Little Shop of Horrors
WNYC Radio, New York Times
James McLaughlin
Plenty
Cats
WCBS-TV
Joel Siegel
Torch Song Trilogy
Little Shop of Horrors
ABC-TV
Leida Snow
Torch Song Trilogy
My One and Only
WINS, ABC Radio
Richard Scholem
Passion & Brighton
Show Boat
Radio Long Island
Beach Memoirs
Seymour Steinhardt
Torch Song Trilogy
Cats
WVNY and Channel 60-68
PULITZER PRIZE WINNERS, 1916-17 to 1982-83
1916-17— No award
1917-18— Why Marry?, by Jesse Lynch Wil-
liams
1918-19— No award
1919-20 — Beyond the Horizon, by Eugene O'-
Neill
1920-21— Miss Lulu Bett, by Zona Gale
1921-22— Anna Christie, by Eugene O'Neill
1922-23 — Icebound, by Owen Davis
1923-24— Hell-Bent fer Heaven, by Hatcher
Hughes
1924-25— They Knew What They Wanted, by
Sidney Howard
1925-26— Craig's Wife, by George Kelly
1926-27 — In Abraham's Bosom, by Paul Green
1927-28— Strange Interlude, by Eugene O'Neill
1928-29— Street Scene, by Elmer Rice
1929-30 — The Green Pastures, by Marc Con-
nelly
1930-31 — Alison's House, by Susan Glaspell
1931-32— Of Thee I Sing, by George S. Kauf-
man, Morrie Ryskind, Ira and George
Gershwin
1932-33— Both Your Houses, by Maxwell An-
derson
1933-34 — Men in White, by Sidney Kingsley
1934-35— The Old Maid, by Zoe Akins
1935-36— Idiot's Delight, by Robert E. Sher-
wood
1936-37— You Can't Take It With You, by Moss
Hart and George S. Kaufman
1937-38— Our Town, by Thornton Wilder
PULITZER PRIZE WINNERS
461
1938-39— Abe Lincoln in Illinois, by Robert E.
Sherwood
1939^«>— The Time of Your Life, by William
Saroyan
1940-41— There Shall Be No Night, by Robert
E. Sherwood
1941-42— No award
1942-^3— The Skin of Our Teeth, by Thornton
Wilder
1943-44 — No award
1944-45 — Harvey, by Mary Chase
1945-46 — State of the Union, by Howard Lind-
say and Russel Grouse
1946-47— No award
1947-48 — A Streetcar Named Desire, by
Tennessee Williams
1948-49— Death of a Salesman, by Arthur
Miller
1949-50— South Pacific, by Richard Rodgers,
Oscar Hammerstein II and Joshua
Logan
1950-51— No award
1951-52— The Shrike, by Joseph Kramm
1952-53— Picnic, by William Inge
1953-54 — The Teahouse of the August Moon,
by John Patrick
1954-55 — Cat on a Hot Tin Roof, by Tennessee
Williams
1955-56 — The Diary of Anne Frank, by Frances
Goodrich and Albert Hackett
1956-57 — Long Day's Journey Into Night, by
Eugene O'Neill
1957-58— Look Homeward, Angel, by Ketti
Frings
1958-59— J.B., by Archibald MacLeish
1959-60 — Fiorello!, by Jerome Weidman,
George Abbott, Sheldon Harnick and
Jerry Bock
1960-61— All the Way Home, by Tad Mosel
1961-62 — How to Succeed in Business Without
Really Trying, by Abe Burrows, Wil-
lie Gilbert, Jack Weinstock and Frank
Loesser
1962-63— No award
1963-64— No award
1964-65— The Subject Was Roses, by Frank D.
Gilroy
1965-66— No award
1966-67 — A Delicate Balance, by Edward Albee
1967-68— No award
1968-69— The Great White Hope, by Howard
Sackler
1969-70— No Place To Be Somebody, by
Charles Gordone
1970-71 — The Effect of Gamma Rays on Man-
in-the-Moon Marigolds, by Paul Zin-
del
1971-72— No award
1972-73 — That Championship Season, by Jason
Miller
1973-74— No award
1974-75 — Seascape, by Edward Albee
1975-76 — A Chorus Line, by Michael Bennett,
James Kirkwood, Nicholas Dante,
Marvin Hamlisch and Edward Kle-
ban
1976-77— The Shadow Box, by Michael Cris-
tofer
1977-78— The Gin Game, by D.L. Cobum
1978-79— Buried Child, by Sam Shepard
1979-80— Talley's Folly, by Lanford Wilson
1980-81— Crimes of the Heart, by Beth Henley
1981-82— A Soldier's Play, by Charles Fuller
1982-83— 'night, Mother, by Marsha Nor-
man
THE TONY AWARDS, 1982-83
The Antoinette Perry (Tony) Awards are voted by members of the League of
New York Theaters and Producers, the governing bodies of the Dramatists
Guild, Actors' Equity, the American Theater Wing, the Society of Stage Di-
rectors and Choreographers, the United Scenic Artists Union and members of
the first-night and second-night press, from a list of four nominees in each
category.
The four nominations in each category (Broadway shows only; off Broadway
excluded) are made by a committee of critics whose personnel changes annually
at the invitation of the abovementioned League, which administers the Tony
Awards under an agreement with the American Theater Wing. The 1982-83
Nominating Committee was composed of Clive Barnes of the New York Post,
462
THE BEST PLAYS OF 1982-1983
Jay P. Carr of the Detroit News, Richard L. Coe, drama critic emeritus of the
Washington Post, Brendan Gill of The New Yorker, William Glover, former
drama critic for the Associated Press, Henry Hewes of the American Theater
Critics Association, Mary C. Henderson, curator of the theater collection of the
Museum of the City of New York, Norris Houghton, former president of the
National Theater Conference, Kevin Kelly of the Boston Globe, Elliot Nor-
ton, former drama critic of the Boston Herald American, Seymour Peck of the
New York Times, Frank Rich of the New York Times, Jay Sharbutt of the
Associated Press and Douglas Watt of the New York Daily News.
The Hst of 1982-83 nominees follows, with winners in each category hsted in
bold face type.
BEST PLAY (award goes to both producer and
author). Angels Fall by Lanford Wilson, pro-
duced by ElHot Martin, Circle Repertory
Company, Lucille Lortel, The Shubert Organi-
zation and Kennedy Center; 'night. Mother by
Marsha Norman, produced by Dann Byck, Wen-
dell Cherry, The Shubert Organization and Fred-
erick M. Zollo; Plenty by David Hare, produced
by Joseph Papp; Torch Song Trilogy by Harvey
Fierstein, produced by Kenneth Waissman, Mar-
tin Markinson, Lawrence Lane, John Glines,
BetMar and Donald Tick.
BEST MUSICAL (award to producers). Blues in
the Night produced by Mitchell Maxwell, Alan
J. Schuster, Fred H. Krones and M2 Entertain-
ment, Inc.; Cats produced by Cameron Mack-
intosh, The Really Useful Company, Ltd., David
GefFen and The Shubert Organization; Mer-
lin produced by Ivan Reitman, Columbia Pic-
tures Stage Productions, Inc., Marvin A.
Krauss and James M. Nederlander; My One and
Only produced by Paramount Theater Produc-
tions, Francine LeFrak and Kenneth-Mark
Productions.
BEST BOOK OF A MUSICAL. A DolVs
Life by Betty Comden and Adolph Green;
Cats by T.S. Eliot; Merlin by Richard Levin-
son and William Link; My One and Only by
Peter Stone and Timothy S. Mayer.
BEST SCORE OF A MUSICAL. A DolVs
Life, music by Larry Grossman, lyrics by Betty
Comden and Adolph Green; Cats, music by An-
drew Lloyd Webber, lyrics by T.S. Eliot; Mer-
lin, music by Elmer Bernstein, lyrics by Don
Black; Seven Brides for Seven Brothers, music by
Gene de Paul, Al Kasha and Joel Hirschhorn,
lyrics by Johnny Mercer, Al Kasha and Joel
Hirschhorn.
OUTSTANDING ACTOR IN A PLAY. Jeffrey
De Munn in K2, Harvey Fierstein in Torch Song
Trilogy, Edward Herrmann in Plenty, Tony Lo
Bianco in A View from the Bridge.
OUTSTANDING ACTRESS IN A PLAY.
Kathy Bates in 'night. Mother, Kate Nelligan in
Plenty, Anne Pitoniak in 'night, Mother, Jessica
Tandy in Foxfire.
OUTSTANDING ACTOR IN A MUSICAL.
Al Green in Your Arms Too Short to Box With
God, George Hearn in A DolVs Life, Michael V.
Smartt in Porgy and Bess, Tommy Tune in My
One and Only.
OUTSTANDING ACTRESS IN A MUSICAL.
Natalia Makarova in On Your Toes, Lonette
McKee in Show Boat, Chita Rivera in Merlin,
Twiggy in My One and Only.
OUTSTANDING FEATURED ACTOR IN A
PLAY. Matthew Broderick in Brighton Beach
Memoirs, Zeljko Ivanek in Brighton Beach
Memoirs, George N. Martin in Plenty, Stephen
Moore in AlVs Well That Ends Well.
OUTSTANDING FEATURED ACTRESS IN
A PLAY. Elizabeth Franz in Brighton Beach
Memoirs, Roxanne Hart in Passion, Judith
Ivey in Steaming, Margaret Tyzack in AlVs Well
That Ends Well.
OUTSTANDING FEATURED ACTOR IN
A MUSICAL. Charles "Honi" Coles in My
One and Only, Harry Groener in Cats, Ste-
phen Hanan in Cats, Lara Teeter in On Your
Toes.
OUTSTANDING FEATURED ACTRESS IN
A MUSICAL. Christine Andreas in On Your
Toes, Betty Buckley in Cats, Karla Burns in
Show Boat, Denny Dillon in My One and
Only.
OUTSTANDING DIRECTION OF A PLAY.
Marshall W. Mason for Angels Fall, Tom
Tony nominees Zeljko Ivanek (left) and Matthew Broderick as bro-
thers in Neil Simon's Critics Award-winning Brighton Beach Memoirs
Moore for 'night. Mother, Trevor Nunn for AlVs
Well That Ends Well, Gene Saks for Brighton
Beach Memoirs.
OUTSTANDING DIRECTION OF A MUSI-
CAL. Michael Kahn for Show Boat, Trevor
Nunn for Cats, Ivan Reitman for Merlin,
Tommy Tune and Thommie Walsh for My One
and Only.
OUTSTANDING SCENIC DESIGN. John
Gunter ^or AlVs Well That Ends Well, Ming Cho
Lee for K2, David Mitchell for Foxfire, John
Napier for Cats.
OUTSTANDING COSTUME DESIGN. Lindy
Hemming for AWs Well That Ends Well. John
Napier for Cats, Rita Ryack for My One and
Only, Patricia Zipprodt for Alice in Wonder-
land.
OUTSTANDING LIGHTING DESIGN. Ken
Billington for Foxfire, Robert Bryan and Bev-
erly Emmons for AlVs Well That Ends Well
David Hersey for Cats, Allen Lee Hughes for
K2.
OUTSTANDING CHOREOGRAPHY.
George Faison for Porgy and Bess, Gillian
Lynne for Cats, Donald Saddler for On Your
Toes, Thommie Walsh and Tommy Tune for My
One and Only.
OUTSTANDING REPRODUCTION OF A
PLAY OR MUSICAL. AWs Well That Ends
Well produced by The Shubert Organization,
Elizabeth I. McCann, Nelle Nugent, ABC Video
Enterprises, Inc., Roger S. Berlind, Rhoda R.
Herrick, Jujamcyn Theatres/Richard G.
Wolff, MGM/UA Home Entertainment Group,
Inc., Mutual Benefit Productions/Karen
Crane; A View from the Bridge produced by Zev
Bufman and Sidney Shlenker; The Caine Mutiny
Court-Martial produced by Circle in the
Square and Kennedy Center; On Your Toes pro-
duced by Alfred de Liagre Jr., Roger L. Ste-
vens, John Mauceri, Donald R. Seawell and
Andre Pastoria.
SPECIAL TONY AWARDS. Oregon Shakes-
pearean Festival Association, Ashland, Ore.;
Theater Award '83 to The Theater Collection,
Museum of the City of New York.
464 THE BEST PLAYS OF 1982-1983
TONY AWARD WINNERS, 1947-1983
Listed below are the Antoinette Perry (Tony) Award winners in the categories
of Best Play and Best Musical from the time these awards were established (1947)
until the present.
1947 — No play or musical award
1948 — Mister Roberts; no musical award
1949— Death of a Salesman; Kiss Me, Kate
1950— The Cocktail Party; South Pacific
1951— The Rose Tattoo; Guys and Dolls
1952 — The Fourposter; The King and I
1953 — The Crucible; Wonderful Town
1954 — The Teahouse of the August Moon; Kis-
met
1955 — The Desperate Hours; The Pajama Game
1956 — The Diary of Anne Frank; Damn Yan-
kees
1957 — Long Day's Journey Into Night; My Fair
Lady
1958 — Sunrise at Campobello; The Music Man
1959— J.B.; Redhead
1960— The Miracle Worker; Fiorello! and The
Sound of Music (tie)
1961— Becket; Bye Bye Birdie
1962 — A Man for All Seasons; How to Succeed
in Business Without Really Trying
1963— Who's Afraid of Virginia Woolf?; A
Funny Thing Happened on the Way to
the Forum
1964— Luther; Hello, Dolly!
1965— The Subject Was Roses; Fiddler on the
Roof
1966 — The Persecution and Assassination of
Marat as Performed by the Inmates of the
Asylum of Charenton Under the Direc-
tion of the Marquis de Sade; Man of La
Mancha
1967 — The Homecoming; Cabaret
1968 — Rosencrantz and Guildenstern Are Dead;
Hallelujah, Baby!
1969— The Great White Hope; 1776
1970— Borstal Boy; Applause
1971— Sleuth; Company
1972 — Sticks and Bones; Two Gentlemen of
Verona
1973 — That Championship Season; A Little
Night Music
1974 — The River Niger; Raisin
1975— Equus; The Wiz
1976 — Travesties; A Chorus Line
1977 — The Shadow Box; Annie
1978— Da; Ain't Misbehavin'
1979 — The Elephant Man; Sweeney Todd, the
Demon Barber of Fleet Street
1980— Children of a Lesser God; Evita
1981— Amadeus; 42nd Street
1982 — The Life & Adventures of Nicholas Nick-
leby; Nine
1983— Torch Song Trilogy; Cats
THE OBIE AWARDS, 1982-83
The Village Voice Oflf-Broadway (Obie) Awards are given each year for excel-
lence in various categories of off-Broadway — and frequently off-off-Broadway —
shows, as close distinctions between these two areas are ignored in Obie Award-
giving. The Obies are voted by a committee of Village Voice critics and others,
which this year was made up of Eileen Blumenthal, Michael Feingold, Robert
Massa, Erika Munk, Julius Novick and Ross Wetzsteon, with Maria Irene
Fornes and John Guare as guest judges.
PERFORMANCE. Ernest Abuba in Yellow
Fever, Christine Baranski in A Midsummer
Night's Dream, Glenn Close in The Singular Life
of Albert Nobbs, Jeff Daniels in Johnny Got His
Gun, Ruth Maleczech in Hajj, John Malk-
ovich in True West, Donald Moffat in Painting
Churches, Ray Wise in The Tooth of Crime.
ENSEMBLE PERFORMANCE. Director
Kenneth Frankel and the cast of Quartermaine's
Terms, director Max Stafford-Clark and the
Royal Court cast of Top Girls, the New York
Shakespeare Festival cast of Top Girls.
PLAYWRITING. Caryl Churchill for Top
Girls. Tina Howe for distinguished playwriting,
THE OBIE AWARDS
465
Harry Kondoleon as most promising young play-
wright, David Mamet for Edmond (latter three
share the $1,000 prize for best new American
play).
DIRECTION. Gregory Mosher for Edmond,
Gary Sinise for True West.
DESIGN. Heidi Landesman for A Midsummer
Night's Dream and Painting Churches.
SPECIAL CITATIONS. The Big Apple Cir-
cus; Ethyl Eichelberger for Lucrezia Borgia; Mi-
chael Moschen, Fred Garbo and Bob Berky for
Foolsfire; The Zagreb Theater Company for The
Liberation of Skopje; The musical production of
The Mother of Us All; The musical performance
of Poppie Nongena ; Dramatists Play Service for
its commitment to new work; Performing Arts
Journal publications; Theater Development
Fund for its off-off-Broadway voucher program.
SUSTAINED ACHIEVEMENT. Lanford
Wilson, Marshall W. Mason and Circle Reper-
tory Company.
ADDITIONAL PRIZES AND AWARDS, 1982-83
The following is a list of major prizes and awards for achievement in the theater
this season. In all cases the names of winners appear in bold face type.
MARGO JONES AWARD. To the producer
and producing organization whose continuing
policy of producing new theater works has made
an outstanding contribution to the encourage-
ment of new playwrights. Andre Bishop and
Playwrights Horizons.
JOSEPH MAHARAM FOUNDATION
AWARDS. For distinguished theatrical design
in original New York productions (selected by a
committee comprising Henry Hewes, chairman,
Tish Dace, Mel Gussow, Patricia McKay, Ed-
ward F. Kook). Scenery: Ming Cho Lee, Leslie
Taylor, Allen Lee Hughes (lighting) and David
Schnirman (sound) for K2; Mabou Mines de-
signers of scenery, costumes and lighting for
Cold Harbor, Company and Hajj. Costumes: Pa-
tricia Zipprodt for Don Juan and Alice in
Wonderland.
Other nominations for outstanding scene de-
sign: Richard Foreman and Nancy Winters for
Egyptology: My Head Was a Sledgehammer,
John Gunter for Plenty, Heidi Landesman for
Painting Churches, Christopher Martin for
Faust, David Mitchell for Foxfire, Douglas W.
Schmidt for The Death of Von Richtofen as Wit-
nessed From Earth, Daniel and Paula Stein for
Inclined to Agree.
Other nominations for outstanding costume
design: Patricia McGourty for The Death of Von
Richtofen as Witnessed From Earth, Everett
Quinton for The Bourgeois Avant-Garde, Nancy
Potts for You Can't Take It With You.
Other nominations for outstanding lighting
design: Ken Billington for Foxfire, Rick But-
ler for Faust, Arden Fingerhut for Plenty, David
Hersey for Cats, Richard Nelson for The Death
of Von Richtofen as Witnessed From Earth, Den-
nis Parichy for Angels Fall.
39th ANNUAL THEATER WORLD
AWARDS. For outstanding new talent in
Broadway and ofF-Broadway productions in the
1982-83 season (selected by a committee com-
prising Clive Barnes, Douglas Watt and John
Willis). Karen Allen in Monday After the Mir-
acle, Suzanne Bertish in Skirmishes, Matthew
Broderick in Brighton Beach Memoirs, Kate
Burton in Present Laughter, Alice in Wonder-
land and Winners, Joanne Camp in Geniuses,
Harvey Fierstein in Torch Song Trilogy, Peter
Gallagher in A DolVs Life, John Malkovich in
True West, Anne Pitoniak in Talking With and
'night. Mother, James Russo in Extremities,
Brian Tarantina in Angels Fall, Linda Thor-
son in Steaming. Special award for a star in
other medium making an outstanding Broad-
way debut to Natalia Markova in On Your
Toes.
3d ANNUAL RICHARD L. COE AWARD.
For an individual who has made a significant
contribution to the development of original ma-
terial for the theater. Joseph Papp.
49th ANNUAL DRAMA LEAGUE
AWARD. Delia Austrian Medal for distin-
guished performing. Kate Nelligan and Edward
Herrmann.
CLARENCE DERWENT AWARDS. For the
most promising male and female actors on the
metropolitan scene during the 1982-83 season.
Dana Ivey in Quartermaine's Terms and John
Malkovich in True West.
466 THE BEST PLAYS OF 1982-1983
OUTER CRITICS CIRCLE AWARDS. For
distinguished achievement in the 1982-83 New
York theater season, voted by critics of foreign
and out-of-town periodicals. Broadway play:
Brighton Beach Memoirs. Broadway musical:
Cats. Actor: Tony Lo Bianco in A View From the
Bridge. Actresses: Anne Pitoniak and Kathy
Bates in 'night. Mother, Jessica Tandy in
Foxfire. Off-Broadway play: Extremities. Off-
Broadway musical: Little Shop of Horrors. Di-
rection: Robert Allan Ackerman for Extremi-
ties. Scenery and lighting: Ming Cho Lee and
Allen Lee Hughes for K2. Debut performances:
Natalia Makarova and Lara Teeter in On Your
Toes, Keith Carradine in Foxfire. Revivals: On
Your Toes and You Can't Take It With You.
Score: Alan Menken and Howard Ashman for
Little Shop of Horrors. Book: Elsa Joubert for
Poppie Nongena. John Gassner Playwriting
Award: William Mastrosimone for Extremi-
ties. Special awards: Theater Development
Fund and Classic Stage Company (CSC).
3d ANNUAL JOHN F. WHARTON
AWARD. For creative contributions to the pro-
ducing of theater. Richard Barr, in recognition of
his distinguished tenure as President of the
League of New York Theaters and Producers.
GEORGE JEAN NATHAN AWARD. For
drama criticism. Julius Novick of the Village
Voice.
ROSAMOND GILDER AWARD for creative
achievement, presented by New Drama Forum
Association. Tina Howe and Emily Mann.
DRAMA DESK AWARDS. For outstanding
achievement, voted by an association of New
York drama reporters, editors and critics. Play:
Torch Song Trilogy. Musical: Little Shop of
Horrors. Director, play: Trevor Nunn for AlVs
Well That Ends Well. Director, musical: George
Abbott for On Your Tees. Actor in a play: Har-
vey Fierstein in Torch Song Trilogy. Actress in
a play: Jessica Tandy in Foxfire. Actress in a
musical: Natalia Makarova in On Your Toes.
Featured actor in a play: Alan Feinstein in A
View From the Bridge. Featured actress in a play:
Judith Ivey in Steaming. Featured actor in a
musical: Charles "Honi" Coles in My One and
Only. Featured actress in a musical: Karla
Burns in Show Boat. Choreography: Thommie
Walsh and Tommy Tune for My One and
Only. Music: Andrew Lloyd Webber for Cats.
Lyrics: Howard Ashman for Little Shop of
Horrors. Orchestrations: Hans Spialek for On
Your Toes and Michael Gibson for My One and
Only (tie). Revival: On Your Toes. Scenic design:
Ming Cho Lee for K2. Costume design: John
Napier for Cats. Lighting design, David Her-
sey for Cats. Special effects: Martin P. Robin-
son and Ron Taylor as Audrey II in Little Shop
of Horrors. Special awards: Douglas Watt of the
Daily News for distinguished achievement; Rich-
ard Wilbur for the English translation of The
Misanthrope; WPA Theater for outstanding
achievement.
1982 GEORGE OPPENHEIMER/NEWS-
DAY AWARD. For the best new American
playwright whose work is produced in New York
City or on Long Island. Harvey Fierstein for
Torch Song Trilogy.
COMMON WEALTH AWARD. For achieve-
ment in the dramatic arts. Harold Prince.
LORRAINE HANSBERRY PLAYWRITING
AWARD. For a play about the black experience
in America, a joint project of McDonald's
Corp., the American College Theater Festival
and the New Dramatists. Gym Rats by Farrell
Foreman.
10th ANNUAL JOSEPH JEFFERSON
AWARDS. For outstanding work in Chicago
theater, nominated by a committee of 40 persons.
Play production: Kabuki Macbeth, The Tooth of
Crime. Musical production: Little Me. Revue:
Tintypes. Director of a play: Stuart Gordon for
E/R, Jim O'Connor for The Island, Shozo
Sato for Kabuki Macbeth, Gary Sinise for True
West, Dennis Zacek for Clara's Play. Director of
a musical: David H. Bell for Little Me. Director
of a revue: Gary Pearle and Wayne Bryan for
Tintypes. Principal actress in a play: Carmen
Decker in Clara's Play, Kit Flanagan in Stand-
ing on My Knees, Glenne Headley in The
House, Mary Ann Thebus in Sister Mary Ig-
natius Explains It All for You, Peg Small in
Eve. Principal actress in a musical: Carol Dil-
ley in Little Me, Maria Ricossa in They're Play-
ing Our Song, Alene Robertson in Kismet. Prin-
cipal actress in a revue: Audrie J. Neenan in
Tintypes. Principal actor in a play: Gary Cole
and William L. Peterson in The Tooth of
Crime, Stephen McKinley Henderson in The
Island, Richard Lavin in Clara's Play, John
Malkovich in True West. Principal actor in a
musical: Walter Hook in Kismet, Lee Pelty in
Zorba, David Rounds in Herringbone, James W.
Sudik in Little Me. Principal actor in a revue:
Ross Lehman in Tintypes. Supporting actress in
a play: Pauline Brailsford in The Entertainer,
Laurel Cronin in The Italian Straw Hat, Fern
ADDITIONAL PRIZES AND AWARDS
467
Persons in Les Belles Soeurs, Rondi Reed in
Waiting for the Parade. Supporting actor in a
play: Tom Irwin in The Glass Menagerie, Mi-
chael Tezla in Eve, Joe Van Slyke in The
House. Ensemble: Waiting for the Parade, The
House, Tintypes. Scene design: Linda Bu-
chana for The Guardsman, Michael Merritt for
Lakeboat, Joseph Nieminski for The Front
Page, Shozo Sato and John Murbach for Kabuki
Macbeth. Costume design: Cookie Gluck for
Kismet, William Ivey Long for The Front
Page, Doug Marmee for Little Me, Nancy
Missimi for The Italian Straw Hat, Shozo
Sato for Kabuki Macbeth. Lighting: F. Mitchell
Dana for Lakeboat, Gary Heitz for Standing on
My Knees, Dawn Hollingsworth for Clara's
Play, Mary McAuliffe and Kevin Rigdon for The
Tooth of Crime, Robert Shook for Kabuki
Macbeth. Choreography: David H. Bell for Lit-
tle Me, Brian Lynch for Zorba. Original inciden-
tal music: Fugue (rock group) for The Tooth of
Crime.
14th ANNUAL LOS ANGELES DRAMA
CRITICS CIRCLE AWARD. For distinguished
achievement in Los Angeles theater. Production:
Betrayal, Creeps, Greek. Direction: Steven
BerkofT for Greek, JefT Murray for Creeps, Sam
Weisman for Betrayal. Ensemble performance:
Ken Danziger, Gillian Eaton, Paddi Edwards,
John Francis in Greek. Performance in a leading
role: Matthew Broderick in Brighton Beach
Memoirs, Graham Brown in Nevis Mountain
Dew, Bill Erwin in Old Friends, Penny Ful-
ler and Ian McShane in Betrayal, Elizabeth
Huddle in Sister Mary Ignatius Explains It All for
You, Laurie O'Brien in Mary Barnes. Perform-
ance in a featured role: Carmen Argenziano in
A Prayer for My Daughter. Scene design: A.
Clark Duncan for Journey's End, Gerry Hari-
ton and Vicki Baral for Betrayal. Lighting de-
sign: Gerry Hariton and Vicki Baral for Be-
trayal and Greek, Russell Pyle for Journey's
End, Tom Ruzika for Henry IV, Part I. Costume
design: Sam Kirkpatrick for The Misanthrope,
Bob Mackie for Movie Star. Sound design: Rus-
sell Pyle for Journey's End. Music and lyrics:
William Finn for March of the Falsettos. Move-
ment: Karen Dick for Creeps.
1982-1983 PUBLICATION
OF RECENTLY-PRODUCED PLAYS
I
Agnes of God. John Pielmeier. Nelson Doubleday.
Angels Fall. Lanford Wilson. Hill and Wang (also paperback).
Balloon. Karen Sunde. Broadway Play Publishing (paperback).
Barnum. Michael Stewart, Mark Bramble, Cy Coleman. Nelson Doubleday
Battery. Daniel Therriault. Broadway Play Publishing (paperback).
Broken Promises: Four Plays. David Henry Hwang. Avon/Bard (paperback).
Can You Hear Me at the Back? Brian Clark. Amber Lane Press (paperback).
Christopher Durang Explains It All for You. Christopher Durang (four plays). Avon/Bard
Clay. Peter Whelan. Methuen (paperback).
Crimes of the Heart. Beth Henley. Viking Press (paperback, Penguin).
Deathtrap. Ira Levin. Penguin (paperback).
Dining Room, The. A.R. Gurney Jr. Nelson Doubleday.
Edmond. David Mamet. Grove Press (also paperback).
Escoffier — King of Chefs. Owen S. Rackleff. Broadway Play Publishing (also paperback).
Fox, The. Alan Miller. Nelson Doubleday.
Geniuses. Jonathan Reynolds. Nelson Doubleday.
How I Got That Story. Amlin Gray. Nelson Doubleday.
Joseph and the Amazing Technicolor Dreamcoat. Tim Rice, Andrew Lloyd Webber, Quentin Blake.
Holt Rinehart Winston.
Key Exchange. Kevin Wade. Avon (paperback).
Last Summer at Bluefish Cove. Jane Chambers. JH Press (paperback).
Letters Home. Rose Leiman Goldemberg. Samuel French (paperback).
Looking-Glass. Michael Sutton, Cynthia Mandelberg. Broadway Play Publishing (paperback).
Map of the World, A. David Hare. Faber and Faber (paperback).
468 THE BEST PLAYS OF 1982-1983
''Master Harold'' . . . and the Boys. Athol Fugard. Alfred A. Knopf.
Other Places: Three Plays. Harold Pinter. Grove Press (also paperback).
Quartermaine's Terms. Simon Gray. Methuen (paperback).
Skirmishes. Catherine Hayes. Faber and Faber (paperback).
Soldier's Play, A. Charles Fuller. Hill and Wang (also paperback).
Steaming. Nell Dunn. Amber Lane (paperback).
Summer and Fables. Edward Bond. Methuen (paperback).
Table Settings. James Lapine. Performing Arts Journal Publications (paperback).
Twelve Dreams. James Lapine. Performing Arts Journal Publications (paperback).
A SELECTED LIST OF OTHER PLAYS
PUBLISHED IN 1982-83
Andromache. Jean Racine. Harcourt Brace Jovanovich.
Are You Now or Have You Ever Been and Other Plays. Eric Bentley. Grove.
Best American Plays. Eighth Series (1974-1982). Clive Barnes, editor. Crown.
Best Short Plays, The. Ramon Delgado, editor. Chilton.
Drunkard's Revenge. The. Raymond Hull (paperback).
Calms of Capricorn, The. Eugene O'Neill. Ticknor & Fields.
Center Stage: An Anthology of 21 Contemporary Black-American Plays. Eileen Joyce Ostrow, editor.
Sea Urchin Press.
Chris Christopherson: A Play in Three Acts. Eugene O'Neill. Random House.
Chushingura: Studies in Kabuki and the Puppet Theater. James R. Brandon, editor. University of
Hawaii Press.
Collected Plays of Peter Shaffer, The. Harmony Books/Crown.
Comedies of William Congreve, The. Cambridge University.
Five Plays by Michael Weller. Plume/New American Library. (Paperback).
Four Comedies by Moliere. Harcourt Brace Jovanovich.
Four Greek Plays: Andromache, Iphigenia, Phaedra, Athaliah. Jean Racine. Cambridge University
Press.
Golden Age of Soviet Theater. The. Michael Glenny, editor. Penguin.
Greeks: Ten Greek Plays Given as a Trilogy, The. John Barton and Kenneth Cavander. Heinemann
(paperback).
Hippolytus. Euripides. Heinemann (paperback).
Longman Anthology of American Drama, The. Lee A. Jacobus, editor. Longman (paperback).
Oresteia, The. Tony Harrison, translator of Aeschylus trilogy. Rowman & Littlefield (paperback).
Pal Joey: The Novel and the Libretto. John O'Hara. Vintage Books/Random House (paperback).
Plays by David Garrick and George Colman the Elder. E.R., editor. Cambridge University.
Plays of Heinrich von Kleist. Continuum (paperback).
Plays by Terence Rattigan: One. Grove Press (paperback).
Plays of Edward Albee: Volume Three, The. Atheneum (paperback).
Plays of Edward Albee: Volume Four, The. Atheneum (paperback).
Plays by W.S. Gilbert. Cambridge University (also paperback).
Theater of Nikolai Gogol: Plays and Selected Writings, The. University of Chicago Press.
Three Exposures. John Guare. Harcourt Brace Jovanovich.
Three Pieces. Ntozake Shange. Penguin (paperback).
Three Theban Plays, The. Sophocles. Viking Press.
Troilus and Cressida: The Arden Shakespeare. Kenneth Palmer, editor. Methuen (paperback).
Two Plays by Bertolt Brecht: The Good Woman of Setzuan & The Caucasian Chalk Circle. Signet
(paperback).
West Coast Plays 11/12. Rick Foster, editor. California Theater Council.
Word Plays 2: An Anthology of New American Drama Performing Arts Journal Publications. Bonnie
Marranca and Gautam Dasgupta. Performing Arts Journal (paperback).
MUSICAL AND DRAMATIC RECORDINGS OF NEW YORK SHOWS 469
MUSICAL AND DRAMATIC RECORDINGS
OF NEW YORK SHOWS
Title and publishing company are listed below. Each record is an original cast
album unless otherwise indicated. An asterisk (*) indicates recording is also
available on cassettes.
Barnum (selections played by Cy Coleman Trio). Bain.
Bring Back Birdie. Original.
Cats (Broadway production, 2 records). Geffen. (*)
Charlotte Sweet. John Hammond.
Little Shop of Horrors. Geffen. (*)
Nine. Columbia. (*)
Pump Boys and Dinettes. CBS Records.
Sophisticated Ladies (highlights from 2 LP sets). RCA. (*)
NECROLOGY
MAY 1982-MAY 1983
PERFORMERS
Adams, Eadie lone (75)— March 13, 1983
Ahern, Will (86)— May 16, 1983
Albertson, Mabel (81)— September 28, 1982
Alexander, Brandy (38)— July 30, 1982
Alexander, John (86)— July 13, 1982
Allen, Chesney (88)— November 13, 1982
Alson, Julia (41)— Spring 1982
Ameche, Jim (68)— February 4, 1983
Anderson, Mignon (91) — February 25, 1983
Arrieu, Rene (58)— June 6, 1982
Asch, Anna Leskaya (87)— May 9, 1983
Askey, Arthur (82)— November 16, 1982
Ates, Dorothy (66)— July 6, 1982
Baker, Russell F. (66)— June 20, 1982
Baldwin, Bill (69)— November 17, 1982
Bar, Shimon (56)— April 4, 1983
Barnes, Paul J. (64)— May 16, 1983
Barton, Fred (60s)— August 13, 1982
Bayne, Beverly (87)— August 18, 1982
Beattie, William A. (52)— August 3, 1982
Bell, Myles (83)— December 17, 1982
Belt, Vernon (62)— April 7, 1983
Bennett, Marjorie (87)— June 14, 1982
Berberian, Cathy (54)— March 6, 1983
Bergman, Ingrid (67)— August 29, 1982
Berk, Dick (60)— February 25, 1983
Bilon, Michael (35)— January 27, 1983
Blake, Larry J. (68)— May 25, 1982
Blake, Marion (86)— June 26, 1982
Block, Jesse (82)— March 22, 1983
Blue, David (41)— December 2, 1982
Blumenthal, Sol (88)— May 24, 1982
Boehm, Max (66)— December 26, 1982
Bolo, Jean (62)— June 30, 1982
Borsche, Dieter (72)— August 5, 1982
Bowen, William (70)— Summer 1982
Bramley, Nellie (92)— June 10, 1982
Brauer, Julia A. (61)— July 4, 1982
Bray, Robert (65)— March 7, 1983
Breeding, Larry— September 28, 1982
Bretty, Beatrice (86)— September 4, 1982
Briarhopper, Homer (61)— May 18, 1983
Broderick, James (55) — November 1, 1982
Brown, Marie Francis (93)— October 31, 1982
Buck, Werhner (44)— July 24, 1982
Burr, Jasper (86)— December 30, 1982
Caplan, Irvin (66)— February 25, 1983
Carpenter, Karen (32)— February 4, 1983
Cassavetes, Katherine (70)— March 29, 1983
Chamarat, Georges (82)— November 21, 1982
Chapin, Victor (64)— March 4, 1983
Chatmon, Sam (84)— February 2, 1983
Chatto, Tom (60s)— August 8, 1982
Checco, Jessie (85)— April 8, 1983
Chen, Renee Shinn (6)— July 23, 1982
Christi, Frank (52)— July 9, 1982
Christian, Robert (42)— January 27, 1983
Christopher, Richard (37) — November 23,
1982
Churchill, Sarah (67)— September 24, 1982
Cianciolo, Augustine J. (61) — January 1983
Clark, Kendall (70)— January 28, 1983
Clive, Eleanor (93)— Fall 1982
Coates, Edith (74)— January 7, 1983
Cohn, Janet (92)— July 3, 1982
Connon, Robert (78)— May 2, 1983
Cook, Philip O. (58)— November 23, 1982
Coote, Robert (73)— November 26, 1982
Crabb, Bobby (34)— July 3, 1982
Crabbe, Buster (75)— April 23, 1983
Crall, Beatrice (84)— March 8, 1983
Cullen, Fred (48)— December 7, 1982
Cummins, Dorothy Louise Cassil (80) — April
19, 1983
Cunneff, Joseph P. (69)— February 11, 1983
D' Alton, Annie (78)— March 10, 1983
Dading, Gladys (84)— January 5, 1983
Darnay, Toni (61) — January 5, 1983
Davis, Gilbert (83)— Spring 1983
Davis, Herbert H. (52)— June 20, 1982
de Funes, Louis (68) — January 27, 1983
Del Monaco, Mario (67)— October 16, 1982
Del Rio, Dolores (77)— April 11, 1983
de Megyery, Sari (86) — February 5, 1983
Denison, Lewis (79)— March 13, 1983
de Noord, Jan (37)— March 6, 1983
Desmond, Mae (95)— July 13, 1982
Dewaere, Patrick (35)— July 16, 1982
Dillaway, Donald P. (78)— November 18, 1982
Donnelly, Ruth (86)— November 17, 1982
Dornfeld, Werner F. (89)— September 5, 1982
Drake, Tom (64)— August 11, 1982
Duke, E.L. (48)— September 20, 1982
Dumkow, Niko (51)— May 27, 1982
Dunn, Josephine (76) — Spring 1983
470
NECROLOGY
471
Dunne, Dominique (23) — November 4, 1982
Eaves, Margaret (77)— March 31, 1983
Ellig, Belle (50s)— October 15, 1982
Emerson, Faye (65)— March 9, 1983
Emery, Dick (65)— January 2, 1983
Enriquez, Margarita (51) — January 28, 1983
Ethndge, Ella (88)— October 3, 1982
Evan, Blanche (73)— December 24, 1982
Evans, Jessie (64)— March 2, 1983
Fair, Dick (74)— July 21, 1982
Falasca, Rossana (29) — Spring 1983
Farmer, Richard (67)— February 8, 1983
Feldman, Marty (48)— December 2, 1982
FitzGerald, Neil (90)— June 15, 1982
Fonda, Henry (77)— August 12, 1982
Forman, Joey (53)— December 9, 1982
Forster, Peter (62)— November 16, 1982
Francis, Ann — January 28, 1983
Franz, Eduard (80)— February 10, 1983
Frazer, Ron (56)— January 8, 1983
Fujikawa, Jerry (71)— April 30, 1983
Fuller, Rosalinde (90)— September 15, 1982
Fury, Billy (42)— January 28, 1983
Galli, Georges (80)— July 3, 1982
Gargan, Mary Elizabeth (76) — January 31,
1983
Garroway, Dave (69)— July 21, 1982
Gauthier, Jacqueline (62) — September 18, 1982
Gendel, Hershel (76)— May 10, 1982
George, George Val (59)— May 2, 1983
Glaze, Peter (58)— February 29, 1983
Godfrey, Arthur (79>— March 15, 1983
Golden, Eddie (71)— March 28, 1983
Gonzalez, Adalberto de Cordova — September
27, 1982
Gordon, Gavin (82)— April 7, 1983
Gorham, Kathleen (53)— April 30, 1983
Goss, Mary Ann Cromer (84)— July 19, 1982
Gray, Florence Ostfeld (70) — December 29,
1982
Greer, Bemice (89)— April 18, 1983
Guthrie, Marjorie Mazia (65) — March 13,
1983
Haida, Katsuhiko (71)— October 19, 1982
Harris, Addie (42)— June 10, 1982
Harrison, Edgar (74)— July 3, 1982
Hawkins. Hoyt (56)— October 23, 1982
Hayter, James (75)— March 27, 1983
Henson, Gladys (85)— Winter 1983
Herman, Charlotte — November 20, 1982
Herrick, Robert (87)— October 3, 1982
Hiatt, Don (70)— February 10, 1983
Hickman, Charles (78)— Apnl 4, 1983
Hickox, Mary (71)— February 26, 1983
Higgins, Edward C (54)— May 18, 1983
Hoerner, Ed (67)— April 5, 1983
Holland. Harve (93>— September 13. 1982
Home, William (69)— April 19, 1983
Hough, Joe— May 26, 1982
Howell, Lottice (84)— October 24, 1982
Hoyos, Rudolfo (68)— April 15, 1983
Hubbard, Penelope (81)— February 17, 1983
Hughes, Arthur (89)— December 28, 1982
Hull, Buriing (93)— November 19, 1982
Jackson, Robert— August 14, 1982
Jacobsson, Ulla (53)— August 22, 1982
Jagel, Frederick (85)— July 6, 1982
Jameson, Rex (58)— March 6, 1983
Jeritza, Maria (94)— July 10, 1982
Johnson, Franklin G. (54)— August 28, 1982
Jones, Martin B. (81)— March 23, 1983
Jurgens, Curt (60s)— June 18, 1982
Kahle, Rosemary D. (72)— July 29, 1982
Katzman, Hortense (70s)— July 8,*1982
Kay, Buddy (Irving Kaufman) (66) — May 11,
1983
Keith, Sydney (82)— November 13, 1982
Kelly, Grace (52)— September 14, 1982
Kennedy, Clair Alderdice (62)— October 18,
1982
Kibbler, Belva (69)— February 3, 1983
Kimmel, Dorothy Kingston (62) — April 4,
1983
King, Mollie (86)— December 28, 1982
Klein, Adelaide (82)— March 18, 1983
Klinger, Ruth S. (59)— July 4, 1982
Kullman, Charles (80)— February 8, 1983
Lagos, Poppy (56)— October 23, 1982
Lamas, Fernando (67)— October 8, 1982
Lamont, Syl (69)— August 7, 1982
Lane, Richard (83)— September 5, 1982
Laughery, Barbara Marie (40s) — April 30,
1983
Layde, Pat (54)— February 9. 1983
LeBouvier, Jean (62)— April 6, 1983
Lee, Mary A. (81)— December 26, 1982
Lee, My-Ca Dinh (7)— July 23, 1982
Lee, Will (74)— December 7, 1982
Leiendecker, Willem (73)— April 17, 1982
Leslie, Doris (80)— May 31, 1982
Levin, Berta— September 15, 1982
Lewis, Katharine H. (80)— July 15, 1982
Liserani, Gino (87)— December 23, 1982
Littler, Susan (33)— July 11, 1982
Lloyd, A.L. (74)— September 29, 1982
Lobato, Nelida (47)— Spring 1983
Long, Maxine A. (64)— March 27, 1983
Lorimer, Enid (94)— July 15, 1982
Lucas, Nick (84)— July 8, 1982
Lucido, Terry (48)— November 2, 1982
Lusiardo, Tito (86) — Summer 1982
Lussier, Alfred O. Sr. (75)— June 24, 1982
Macleod, Don (62)— April 15, 1983
Madden, Donald (49)— January 22, 1983
472 THE BEST PLAYS OF 1982-1983
Madsen, Roy J. (68)— May 31, 1982
Magana, Angel (57) — November 13, 1982
Magee, Patrick (58)— August 14, 1982
Mahoney, Tom (50s)— July 13, 1982
Manners, Gloria (70)— October 25, 1982
Markham, Ronald (56)— October 9, 1982
Marquand, Nan — December 10, 1982
Martinelli, Jean (73)— March 13, 1983
Maskeil, Dorothy M. (89)— June 25, 1982
McElrath, Ann Jones — December 14, 1982
McHugh, John (69)— January 13, 1983
McKay, Ted (75)— December 6, 1982
McMichael, Marion Rooney (77) — December
14, 1982
Merchant, Vivien (53) — October 3, 1982
Merlini, Elsa (80)— Spring 1983
Merriman, Robert (66) — February 2, 1983
Miller, Jessie M. (80)— September 24, 1982
Miller, Michael (51)— May 5, 1983
Mills, Harry (68)— June 28, 1982
Milmar, Paul (99)— January 22, 1983
Milton, Bob (54)— January 11, 1983
Mintz, Jack (87)— January 19, 1983
Miranda, Isa (77)— July 8, 1982
Mitchell, Gordon S. (71)— July 8, 1982
Monte, Mysie (90)— January 9, 1983
More, Kenneth (67)— July 12, 1982
Morris, Bobby (75)— December 26, 1982
Morrison, Meta (90)— November 28, 1982
Morrow, Vic (50)— July 23, 1982
Moulin, Velma Lyon (82)— June 19, 1982
Mujica, Alba— Winter 1982
Mullaney, Jack (51)— June 27, 1982
Murray, Stephen (70)— April 1, 1983
Nash, Gene (54)— May 18, 1983
Nesbitt, Cathleen (93)— August 2, 1982
Newman, Marion A. (72) — October 1, 1982
Nieto, Jose (80)— August 9, 1982
Nixon, Marian (78)— February 13, 1983
Norbert, Doris Beaupre (60s)— May 23, 1982
Norris, Kenneth (54)— January 23, 1983
Novello, Jay (78)— September 2, 1982
Ober, Philip (80)— September 13, 1982
O'Brien, Richard (65)— March 29, 1983
O'Brien, Sheila (80)— January 26, 1983
O'Leary, Kevin (42)— September 16, 1982
Oliver, Bette (52)— May 16, 1983
Ortiz, Humberto (46)— Fall 1982
Page, Gale (72)— January 8, 1983
Patrick, Lee (70)— November 25, 1982
Patton, Mary (66)— November 8, 1982
Paul, Queenie (87)— July 31, 1982
Pazton, Dorothy (82)— July 3, 1982
Peari, Jack (88)— December 25, 1982
Pehsh, Thelma (55)— March 6, 1983
Philbrook, James (58)— October 24, 1982
Phillips, Bernard (68)— August 17, 1982
Pickman, Kathryn (60)— November 2, 1982
Pitts, Ron (51)— March 25, 1983
Powell, Albert (82)— June 26, 1982
Quartly, Reg (71)— April 26, 1983
Quartucci, Pedro (78)— Spring 1983
Randolph, Elsie (80)— October 15, 1982
Reiner, Cariotta (84)— January 24, 1983
Richards, Digvy (43)— February 10, 1983
Richardson, James G. (37)— February 29, 1983
Richard- Willim, Pierre (87)— April 12, 1983
Riley, Ed (49)— December 25, 1982
Robart, Gene (34)— April 17, 1983
Robertson, Norah (80)— November 26, 1982
Rogers, Rod— February 23, 1983
Ronet, Maurice (55)— March 14, 1983
Ross, Bob (57)— April 17, 1983
Rotha, Wanda (60s)— August 5, 1982
Rowell, Bond (90)— Summer 1982
Royle, Selena (78)— April 23, 1983
Rugani, Dogi (84)— January 21, 1983
Rutherford, Jack (89)— August 21, 1982
Ryan, Nancy Holmes (79)— May 23, 1982
Saburi, Shin (73)— September 23, 1982
Sakata, Harold (56)— July 29, 1982
Savidge, Mary (50s)— August 20, 1982
Schaefer, Rosel (56)— July 24, 1982
Schneider, Romy (43)— May 29, 1982
Schuessler, Roy A. (71)— October 22, 1982
Scott, Lorene (74)— April 19, 1983
Sedan, Rolfe (86)— September 16, 1982
Seka, Ron (48)— July 25, 1982
Shea, Helen— January 14, 1983
Shean, Larry (80s)— December 30, 1982
Shiva, Susan Stein (46)— January 3, 1983
Simon, Francois — October 5, 1982
Sitkin, Pauhne Orland (72)— November 18,
1982
Sleeper, Martha (72)— March 23, 1983
Slezak, Walter (80)— April 22, 1983
Smith, Emily (77)— April 28, 1983
Solidor, Suzy (82)— March 31, 1983
Solonitzyn, Anatoli (43) — June 1982
Space, Arthur (74)— January 13, 1983
Speegle, Paul (72)— June 6, 1982
Spencer, Tommy (81)— July 6, 1982
Stahely, Helen (52)— October 4, 1982
Stanley, Louise — December 31, 1982
Steen, Malcolm H. (55)— May 9, 1983
Strudwick, Shepperd (75)— January 15, 1983
Stuthman, Fred (60s)— July 7, 1982
Swanson, Gloria (84)— April 4, 1983
Syers, Mark (30)— May 15, 1983
Tanner, Fred (62)— October 27, 1982
Tati, Jacques (74) — November 5, 1982
Taylor, Vaugn (72)— April 26, 1983
Tex, Joe (49)— August 13, 1982
Thimig, Hermann (92)— July 7, 1982
NECROLOGY
473
Thoma, Michael (55)— September 3, 1982
Thorsen, Russell (mid-70s)— July 6, 1982
Tobin, Dan (72>— November 26, 1982
Tonetti, Manuel (54)— December 4, 1982
Trenier, Cliff (63)— March 2, 1983
Tucker, Bert— October 25, 1982
Valerie, Joan (68)— January 30, 1983
Vandair, Maurice (77)— December 5, 1982
Vattier, Robert (76)— December 9, 1982
Viogoreaux, Luis (54) — January 18, 1983
Vitte, Ray (33>-February 20, 1983
Wahby, Youssef (82)— Winter 1983
Wakely, Jimmy (68)— September 23, 1982
Walker, Betty (54)— July 26, 1982
Warren, Flip (69)— March 15, 1983
Wasmund, Michael (28)— March 1983
Weaver, Doodles (71)— January 15, 1983
Webb, Alan (75)— June 1982
Webb, Jack (62)— December 23, 1982
West well, Raymond (63)— Winter 1983
White, Alice (78>— February 19, 1983
White, Lexie (64)— May 28, 1982
Wilder, Marc (53)— April 18, 1983
Williams, John (80)— May 5, 1983
Wilson, Edwin Harold (68)— April 16, 1983
Wilson, Lois (75)— January 8, 1983
Wood, Terry (34)— June 20, 1982
Woods, Eugenia (97>— April 1, 1983
Yule, Fred (89)— December 11, 1982
Zanuck, Virginia Fox (79)— October 14, 1982
CONDUCTORS
Assaly, Edmund (62) — January 1, 1983
Bloch, Alexander (101)— March 18, 1983
Boult, Adrian Cedric (93)— February 23, 1983
Fradkin, Philip (61)— May 20, 1983
Gould, Glenn (50)— October 4, 1982
Greenfield, Alfred M. (81)— January 14, 1983
Hagen, Walter C (63)— May 19, 1983
Hawn, Edward Rutledge (73)— June 7, 1982
Heinze, Bernard (88)— June 9, 1982
Hersenhoren, Samuel D. (73) — August 18,
1983
Jellett, Dorothea Janet (81)— March 3, 1983
Jones, J. Randolph (72)— September 17, 1982
Jusko. Ralph V. (77)— July 23, 1982
Keating, Ralph W. (77)— April 6, 1983
Larrison, Bobby (51)— July 27, 1982
Linden, Eugene (71) — January 17, 1983
Little, Irvine Francis (80)— July 6, 1982
McCune, William J. (71)— February 26, 1983
Miedel, Ramer (45)— March 25, 1983
Mueller-Lampertz, Richard (72) — September
23, 1982
Petndes, Frederique (79)— January 12, 1983
Rapp, Danny (42)— April 4, 1983
Riccio, Pat (61)— August 23, 1982
Richter, Alexander (78)— November 6, 1982
Ross, Jack (66)— December 16, 1982
Rossi, Rafael (85)— Winter 1983
Shorter, James (79>— October 10, 1982
Simmons, Calvin (32)— August 22, 1982
Strand, Joe (80)— October 2, 1982
Wallenstein, Alfred (84)— February 8, 1983
Wilson, Frank William (70)— January 29, 1983
Zeller, Robert (63)— December 5, 1982
DESIGNERS
Alexeiff, Alexander (81)— August 8, 1982
Balmain, Pierre (68)— June 29, 1982
Bell, Claire (68)— December 17, 1982
Gelpi, Germen (73)— Winter 1983
Rychtarik, Richard W. (87)— July 10, 1982
Solomon, Selma Alexander — August 28, 1982
CRITICS
Bernstein, Karl N. (89>— January 1, 1983
Clark, Kenneth (79)— May 21, 1983
Davies, Grace Golden (99)— May 30, 1982
de Schauensee, Max (83)— July 24, 1982
Dwyer, John (69)— February 6, 1983
Eigen, Jack (69)— January 23, 1983
Faber, Chades (69)— April 5, 1983
Hale, Wanda (80)— May 24, 1982
Klein, Philip (75)— August 21, 1982
Lampard, Betty (73)— August 20, 1982
Macdonald, Dwight (76)— December 19, 1982
Mattia, Ettore G (72>— October 1982
Morrison, Don (61)— April 20, 1983
Moskowitz, Gene (61)— December 29, 1982
Palatsky, Eugene H. (49)— June 24, 1982
Pascall, Geraldine (38)— February 10, 1983
Peters, John Brod (47)— August 28, 1982
Pullen, Glenn (78)— February 25, 1983
Silvert, Conrad (34)— July 15, 1982
Somervell, Stephen (84)— July 4, 1982
Swinnerton, Frank (98) — November 6, 1982
Terry, Walter (69)— October 4, 1982
PLAYWRIGHTS
Antoine, Andre-Paul (90)— October 11, 1982
Birnkrant, Arthur (76)— February 3, 1983
Bolton, Muriel Roy (74)— March 4, 1983
Box, Sydney (76)— May 25, 1983
Brahns, Caryl (81)— December 4. 1982
474 THE BEST PLAYS OF 1982-1983
Chambers, Jane (45)— February 15, 1983
Coleman, Lonnie (62)— August 13, 1982
Davidson, William F. (85)— September 11,
1982
Denham, Reginald (89)— February 4, 1983
Duncan, Ronald (68)— June 3, 1982
Francis, Charlotte (78)— February 18, 1983
Geraldy, Paul (98)— March 10, 1983
Glickman, Will (73)— March 11, 1983
Goforth, Frances (94)— September 10, 1982
Goldberg, Michael (72)— August 1982
Goodwin, Robert L. (55)— February 13, 1983
Iriarte, Victor Ruiz (70)— October 14, 1982
Johnson, Oscar E. (75)— December 5, 1982
JovinelU, Gerardo (72)— April 29, 1983
Mason, Bruce (61)— December 31, 1982
Miller, Albert G. (76)— June 25, 1982
Neveux, Georges (82)— August 27, 1982
Remington, Fred (63)— August 11, 1982
Riley, Jean (66)— January 30, 1983
Roos, Audrey K. (70)— December 11, 1982
Sackler, Howard (52)— October 14, 1982
Tank, Herbert (60)— November 10, 1982
Terayama, Shuji (47)— May 4, 1983
Walker, Evan (49)— August 23, 1982
Ward, Theodore (80)— May 8, 1983
Williams, Lawrence (67) — January 3, 1983
Williams, Tennessee (71)— February 25, 1983
Winter, Keith (76)— February 17, 1983
King, Pete (68)— September 21, 1982
Kleinsinger, George (68)— July 28, 1982
Kohlman, Churchill (77)— May 23, 1983
Loezos, Manos (44) — September 22, 1982
Lucas, Leighton (79) — November 7, 1982
Ludwig, Carl F. (89)— June 13, 1982
Lutyens, Elizabeth (76)— April 14, 1983
Markevitch, Igor (70)— March 7, 1983
McCarty, Kenneth (74)— June 24, 1982
Meakin, Jack (76)— December 30, 1982
Morlaine, Jacques (61) — January 18, 1983
Oliver, David (40)— June 2, 1982
Peterson, Mel (75)— October 31, 1982
Rene, Leon (80)— May 30, 1982
Rinker, Al (74)— June 11, 1982
Stuchevsky, Joachin (92) — November 14, 1982
Theard, Sam (78)— December 7, 1982
Torroba, Federico Moreno-Torroba (91) —
September 12, 1982
Tremblay, George (71)— July 14, 1982
Walton, William (80)— March 8, 1983
Watkins, John T. (54)— February 25, 1983
Watts, John (52)— July 2, 1982
Weigl, Valerie (88)— December 25, 1982
Wollenberger, Werner (55)— October 17, 1982
PRODUCERS, DIRECTORS
CHOREOGRAPHERS
COMPOSERS/LYRICISTS
Atchison, Shelby (70)— August 4, 1982
Auge, Henry J. Jr. (53)— February 8, 1983
Barlow, Samuel L.M. (90)— September 19,
1982
Barr, Ray (70)— March 13, 1983
Blake, Eubie (100)— February 12, 1983
Bowling, Roger (39)— December 25, 1982
Brown, J. Harold (79)— September 17, 1982
Brown, Steven M. (41)— May 8, 1983
Burk, Thomas H. (82)— October 28, 1982
Cole, Roberto— March 3, 1983
Cunningham, Billy (46)— December 2, 1982
Darwin, Chuck (64)— May 6, 1983
Deutsch, Max (90)— November 22, 1982
Dowling, Allan D. (79)— April 13, 1983
Ehlert, Juan (81)— September 8, 1982
Emley, Joseph F. (50)— June 13, 1982
Engel, Lehman (71)— August 29, 1982
Gordillo, Manuel (83)— August 1982
Grunewald, Jean-Jacques (71) — December 19,
1982
Hopkins. Kenyon (71)— April 7, 1983
Ito, Teiji (47)— August 16, 1982
Kaper, Bronislau (81)— April 25, 1983
Alexander, David (68)— March 6, 1983
Angelo, Edmond — March 27, 1983
Balanchine, George (79)— April 30, 1983
Bettis, Valerie (62)— September 26, 1982
Bridge, Peter (57)— November 24, 1982
Briels, Carel (66)— March 25, 1983
Brown, Sally Stearns (68)— February 15, 1983
Carter, Peter (48)— June 5, 1982
Cinader, Robert A. (58)— November 16, 1982
Deutsch, Benoit-Leon (90)— Summer 1982
Doheny, Lawrence (57) — September 7, 1982
Emmett, Patricia (54)— January 17, 1983
Fassbinder, Rainer Werner (36) — June 10,
1982
Feigay, Paul (64)— February 26, 1983
Garcia, Victor (47)— August 28, 1982
Gaston, Den (41)— May 4, 1983
Gierow, Karl R. (78)— October 31, 1982
Gordon, Steve (44)— November 27, 1982
Hine, Donald M. (58)— December 23, 1982
Hunter, Philip (79)— December 25, 1982
Jackman, Fred H. (69)— December 9, 1982
Juaire, David (30?)— September 6, 1982
Kaesen, Robert (52)— March 5, 1983
Kipness, Joseph (71)— November 18, 1982
Konigsberg, Franklin (35)— October 16, 1982
Leavitt, Max (77)— November 7, 1982
NECROLOGY
475
Loring, Eugene (72)— August 30, 1982
MacDonald, Alastair Simon (43) — August 7,
1982
Mossman, Merrily (40)— May 11, 1983
Rambert, Marie (94)— June 12, 1982
Richards, Dick — Summer 1982
Richetta, Donald P. (38)— June 23, 1982
Ries, Michael (65)— April 10, 1983
Russo, James (68)— October 4, 1982
Schnitzler, Heinrich (79)— July 14, 1982
Schwezoff, Igor (78)— October 28, 1982
Streger, Paul (86)— October 4, 1982
Suggs, Charies (60?)— March 29, 1983
Walters, Charles (70)— August 13, 1982
MUSICIANS
Andreasson, Goesta (87)— June 8, 1982
Arnold, William (75)— August 26, 1982
Attwell, Winifred (69)— February 27, 1983
Austin, Johnny (72)— February 14, 1983
Baker, Arthur (79)— April 30, 1983
Barrett, Emma (85)— January 28, 1983
Baselli, Joss (56)— September 4, 1982
Bergen, Chadotte (84)— July 10, 1982
Beron, Adolfo (67)— Fall 1982
Bledsoe, George (62)— May 12, 1982
Borisoff, Alexander (74)— March 25, 1983
Brainard, Jerry (35)— September 4, 1982
Brakke, Lawrence (76)— June 22, 1982
Bresnick, Martin (53)— June 18, 1982
Brown. Frank (50)— May 13, 1983
Bushell, Donald G (74)— July 17, 1982
Cagnolatti, Ernie J. (72)— April 7, 1983
Campbell, Harry Francis (80) — February 25,
1983
Chappell, A. Donald (78)— July 18, 1982
Chargo, Morris (75) — December 14, 1982
Cole, Frances (45)— January 24, 1983
Cohrane, John Jr. (17)— August 7, 1982
Costa, Don (57)— January 19, 1983
Curzon, Clifford (75)— September 1, 1982
Dilling, Mildred (88)— December 30, 1982
Donahue, Al (80)— February 20, 1983
Draper, Ray (42)— November 1, 1982
Eddy, Alan (78)— July 8, 1982
Estlow, Bert (89)— December 19, 1982
Evans, Lindley (87)— December 2, 1982
Fitzer, Juanita (83)— May 18. 1983
Ford, Cari (62)— July 8, 1982
Friske, Wilson B. (83)— June 6. 1982
Galbraith, Barry (63)— January 13, 1983
Gelbloom, Gerald (56)— June 2, 1982
Glantz. Harry (86)— December 18, 1982
Glenn, Carroll (64)— April 25, 1983
Goodman, Isador (73)— December 2, 1982
Graslaub, Roman (54)— July 26, 1982
Haig, Al (58)— November 16, 1982
Harms, William (75)— January 7, 1983
Hensel, Wes (65)— December 15, 1982
Hines, Eari (77)— April 22, 1983
Homes, Mabel McCabe (91) — November 16,
1982
Hotchkiss, Jess (70)— October 14. 1982
Hruby. Edward J. (86)— October 17, 1982
Jackson, Graham W. (79)— January 15, 1983
Johnson, Joseph W. (75)— July 6, 1982
Kelli, David— April 23, 1983
Kendrick. Harold (68)— November 18, 1982
Kogan, Leonid (58)— December 17, 1982
Lamer, Dorothy— June 16, 1982
Larson, Dennis (58)— October 5, 1982
Lewis, Rachael (79)— February 25, 1983
Lucas, Bill (67)— December 11, 1982
Luhman, William (56)— November 4. 1982
Manone, Wingy (78)— July 9, 1982
Manusevitch, Victor (80)— March 16, 1983
Marrandino, Angelo (69) — November 15, 1982
Martinoli, Octavius (66)— April 17. 1983
McGovern, Tom (66)— October 15. 1982
Metcalfe, Norman (62)— August 2, 1982
Mundy, Jimmy (75)— April 24, 1983
North. William (75)— July 14, 1982
Nowinsky, William (64)— September 11, 1982
Olson, Edgar C (86)— Spring 1983
Pallamary. Michael J. (61)— March 14. 1983
Pappalardi. Felix (41)— April 17, 1983
Parker, Joe (69)— November 6, 1982
Pasztory, Ditta (80)— November 21, 1982
Pepper, Art (56)— June 15, 1982
Piscitello, Charles J. (43)— May 10, 1983
Pizarro, Manuel (86)— Fall 1982
Powell, Jesse (58)— October 19, 1982
Ptashne, Theodore (72)— May 19, 1982
Puleo, Johnny (74)— May 3, 1983
Rabinowitz, Sol Roberts (62)— October 3, 1982
Rampal, Joseph (87)— January 11, 1983
Reiling, Ann C (79)— April 1, 1983
Reilly, Betty (64)— December 22, 1982
Renzulli. Carlo (63)— June 24. 1982
Richsteiii, Jeanne King (44)— March 28, 1983
Rizzo, Virgil (78)— June 30, 1982
Rogers, Herbert (53)— January 29, 1983
Rogers, Merton (80)— August 18, 1982
Rosenberg, William (73)— August 29, 1982
Royal, Ernie (61)— March 17, 1983
Rubinstein, Arthur (95)— December 20, 1982
Rudman, Albert (71)— April 28, 1983
Scheurer, Karl (97)— December 20, 1982
Schnitzer, Germaine (95)— September 18, 1982
Scott, James Honeyman (25)-— June 16, 1982
Shannon, Hugh (61)— October 19, 1982
Sladek, Paul (86)— July 19, 1982
476 THE BEST PLAYS OF 1982-1983
Stitt, Edward (48)— July 22, 1982
Stuart, Kirk (48)— December 17, 1982
Tchaikowsky, Andre (46)— June 26, 1982
Towles, Lois (70)— March 18, 1983
Towns, Donald (53)— March 13, 1983
Trisko, Kenneth P. (73)— August 16, 1982
Ullrich, William A. (76)— July 15, 1982
Vanstone, Alan (61)— June 1, 1982
Vasey, Jane (33)— Summer 1982
Vigeland, Hans (64)— August 17, 1982
Welch, Homer (69)— July 10, 1982
Waters, Muddy (68)— April 30, 1983
Weller, Daniel Max (94)— April 27, 1983
Williams, Joe Lee (83)— December 17, 1982
Winding, Kai (60)— May 6, 1983
Zottarelle, Rocco M. (93)— January 1, 1983
OTHERS
Allen, Sheppard (92)— June 11, 1982
Impresario, Howard Theater
Antoine, Tex (59)— January 12, 1983
Weather forecaster
Arnott, James Fullerton (68) — November 23,
1982
Drama professor
Barnes, Djuna (90)— June 18, 1982
Novelist
Berg, Phil (80)— February 1, 1983
Talent agent
Bernbach, William (71)— October 2, 1982
Advertising
Bluhdorn, Charles G. (56)— February 19, 1983
Gulf & Western Industries
Bonnet, Ted (74)— January 15, 1983
Founder, Publicists Guild
Botkin, Henry (86)— March 4, 1983
Abstract painter
Burns, George (69)— May 23, 1983
Walt Disney music
Byram, Marian (78)— August 31, 1982
Publicist
Cade, Rowena (89)— March 28, 1983
Theater buff
Cappelli, Carlo Alberto (74)— Summer 1982
Shakespeare Festival, Verona
Catledge, Turner (82)— April 27, 1983
New York Times editor
Cheever, John (70)— June 18, 1982
Writer
Cort, Margretta D. (90>— June 14, 1982
Widow, Harry L. Cort
Cukor, George (83)— January 24, 1983
Film director
Davis, Loyal (86)— August 19, 1982
Adoptive father, Nancy Reagan
de Rochemont, Richard (78)— August 4, 1982
March of Time
Delia Russo, Michael (67)— January 1, 1983
Revere Frolics
Delteil, Caroline (92)— July 2, 1982
Creator, Revue Negre
Desmond, Connie (73)— March 3, 1983
Voice of Brooklyn Dodgers
Downing, Sally Rush (80)— June 23, 1982
Arts patron
Dumont, Andre (74)— Fall 1982
Publicist
Edwards, Hilton (79)— November 18, 1982
Cofounder, Gate Theater
Eisler, Herbert A.— November 30, 1982
Attorney
Ehse, Sister Mary (84)— July 21, 1982
Founder, Opera Ebony
Erickson, August E. (101)— August 14, 1982
Columnist
Farrell, Frank (7 1 )— February 17, 1983
Columnist
Fell, Otto (87)— February 5, 1983
Toledo vaudeville theater
Feves, Ray M. (66)— March 9, 1983
Variety correspondent
Freedman, Alan J. (59)— December 15, 1982
Arts patron
Garafalo, Tony (67)— April 20, 1983
Mackey's Ticket Office
Garey, Norman (46) — August 17, 1982
Attorney
Gold, Aaron (45)— May 23, 1983
Columnist
Goldman, Irving (73)— May 20, 1983
Shubert executive
Goodman, Alice Hahn (70)— August 6, 1982
Arts patron
Gosden, Freeman F. (83) — December 10,
1982
Amos 'n Andy
Grossman, Milton (77)— March 23, 1983
Agent and packager
Guy, Ralph Sr. (85)— January 25, 1983
Wm. Cody circuses
Hanks, Nancy (55)— January 7, 1983
Chairman, National Endowment
Harkness, Rebekah West (67)— June 17, 1982
Arts patron
Hobbs, Rebekah (80)— December 11, 1982
Subscription manager
Hofheinz, Roy M. (70)— November 21, 1982
Ringling Bros. Circus
Holmes, Joseph R. (55)— May 27, 1983
Agent for Ronald Reagan
Howell, James (46)— October 21, 1982
Dance teacher
NECROLOGY
477
Jacobs, Herb (7 1 )— September 8, 1982
Assistant to Billy Rose
Jacobson, Jim (42) — November 21, 1982
Agent
Johnson, Caroline (83)— July 19, 1982
Ice Follies
Jones, Cornelius J. (85)— October 15, 1982
Desert Inn, Las Vegas
Justis, Bill (55>— July 16, 1982
Arranger
Kilgallen, James L. (94)— December 21, 1982
Reporter
Klot, Gerald (75)— August 21, 1982
Bronx Opera Company
Koestler, Arthur (77)— March 3, 1983
Writer
Kranz, Ben (72)— January 4, 1983
Production manager
Labrum, Thomas J. (78)— June 19, 1982
Publicist
Lahinsky, Harry (74>— June 23, 1982
Royal Lipizzan Stallion Show
Levenberg, Warren F. (31)— July 21, 1982
Ringling Bros. Circus
Lockridge, Richard (83)— June 19, 1982
Writer
Lombardo, Lilliebell (82)— May 26, 1982
Widow, Guy Lombardo
MacAdams, Rhea (98)— July 30, 1982
Acted in Thomas Edison film
Makar, Edward F. (7 1 )— February 15, 1983
Entertainment operator
Margohs, Samuel (99)— November 13, 1982
Voice teacher
Marvin, Mrs. Walter Sands (90) — August 3,
1982
Metropolitan Opera Guild
Mason, Harold T. (89)— January 11, 1983
Philadelphia Academy of Music
Mauier, Maurice (76) — September 21, 1982
Manager
Maurice, Phil (82)— Winter 1983
Canadian showman
May, Morton D. (69)— April 13, 1983
Arts patron
Mayer, Ken (63)— September 30, 1982
Columnist
Marshall, Rex (64)— March 9, 1983
Radio, TV announcer
McCall, Monica (82)— July 5, 1982
Literary agent
Moore, Joe— April 28, 1983
Publicist
Moritz, Joseph (82)— August 22, 1982
Theater owner
Myers, Robert (69)— January 19, 1983
Odeon Theaters, Canada
O'Connell, John J. (61)— September 2, 1982
Hearst Newspapers editor
O'Gallchoir, Eamonn (76) — December 27,
1982
Musical director. Abbey Theater
Okun, Henry (79)— May 23, 1982
Publicist
Oliver, H.J. (65)— July 26, 1982
Shakespeare authority
Parkinson, James (71)— February 28, 1983
Pennsylvania Opera Co.
Payne, Robert (7 1 )— February 18, 1983
Theater biographies
Pearce, Marshall (6 1 )— December 21, 1982
Mardi Gras Carnival
Randall, L. Kenn (72)— May 12, 1982
Manager
Rasponi, Lanfranco (69)— April 9, 1983
Publicist
Richards, Helen Stern (66)— April 9, 1983
Publicist
Rubin, Dick (71)— February 17, 1983
Agent
Schaeffer, Carl (74)— December 6, 1982
Treasurer, Actors Studio
Schmitz, Clemens Sr. — February 21, 1983
Insurance, outdoor shows
Seller, Irving I. (9 1>— November 20, 1982
New England restauranteur
Selvin, Herman F. (78)— November 7, 1982
Attorney
Silman, Elli (84)— November 20, 1982
Talent agent
Skolsky, Sidney (78)— May 1983
Reporter
Small, Berman (62)— February 14, 1983
Agent
Stravinsky, Vera (93)— September 17, 1982
Widow, Igor Stravinsky
Strickling, Howard (84)— July 14, 1982
Publicist
Tannenbaum, Samuel W. (92) — November 9,
1982
Attorney
Tanner, Dolores (71) — November 24, 1982
Director, Hedgerow Theater
Tillett, Emmy (85)— May 16, 1982
Concert manager
Tuck, George Jr. (58)— June 2, 1982
Lakeview Palladium
Turet, Maurice (73)— March 23, 1983
Publicist
Van Sickle, Charles L. (61) — September 4,
1982
Business manager
Vincent, J.J. (91)— March 7, 1983
Concert manager
478
THE BEST PLAYS OF 1982-1983
Vondenhoff, Bruno (80)— July 7, 1982
Frankfurt City Opera
Washer, Ben (76)— September 5, 1982
Publicist
Webber, Bickford (51)— May 13, 1983
Music editor
Wechsberg, Joseph (75)— April 10, 1983
Writer
Weissberger, Arnold (59)— August 20, 1982
Attorney
West, Rebecca (90)— March 15, 1983
Writer
Whittemore, Jack (67)— January 21, 1983
Agent
Williams, Percy F. (75)— July 18, 1982
Publicist
Wishnew, Bert (72)— April 8, 1983
Agent
Zeiger, Hal (68)— November 15, 1982
Agent
THE BEST PLAYS, 1894-1982
Listed in alphabetical order below are all those works selected as Best Plays
in previous volumes in the Best Plays series. Opposite each title is given the
volume in which the play appears, its opening date and its total number of
performances (in the case of transfers, both the Broadway and off-Broadway runs
are included in the number of performances). Those plays marked with an aster-
isk (*) were still playing on June 1, 1983 and their number of performances was
figured through May 31, 1983. Adaptors and translators are indicated by (ad) and
(tr), the symbols (b), (m) and (1) stand for the author of the book, music and lyrics
in the cast of musicals and (c) signifies the credit for the show's conception.
NOTE: A season-by-season listing, rather than an alphabetical one, of the 500
Best Plays in the first 50 volumes, starting with the yearbook for the season of
1919-1920, appears in The Best Plays of 1968-69.
PLAY VOLUME OPENED PERFS
Abe Lincoln in Illinois— Robert E. Sherwood 38-39. Oct. 15, 1938. . 472
Abraham Lincoln— John Drinkwater 19-20. .Dec. 15, 1919. . 193
Accent on Youth— Samson Raphaelson 34-35. .Dec. 25, 1934. . 229
Adam and Eva— Guy Bolton, George Middleton 19-20. .Sept. 13, 1919. . 312
Adaptation— Elaine May; and Next— Terrence McNally 68-69. .Feb. 10, 1969. . 707
Affairs of State— Louis Vemeuil 50-51. .Sept. 25, 1950. . 610
After the Fall— Arthur Miller 63-64. .Jan. 23, 1964. . 208
After the Rain— John Bowen 67-68. .Oct. 9, 1967. . 64
♦Agnes of God— John Pielmeier 81-82. .Mar. 30, 1982. . 486
Ah, Wilderness!— Eugene O'Neill 33-34. .Oct. 2,1933.. 289
Ain't Supposed to Die a Natural Death — (b, m, 1)
Melvin Van Peebles 71-72. .Oct. 7, 1971. . 325
Alien Corn— Sidney Howard 32-33. .Feb. 20, 1933. . 98
Alison's House— Susan Glaspell 30-31. .Dec. 1, 1930. . 41
All My Sons— Arthur Miller 46-47. .Jan. 29, 1947. . 328
All Over Town— Murray Schisgal 74-75. .Dec. 12, 1974. . 233
All the Way Home — Tad Mosel, based on James Agee's
novel A Death in the Family 60-61. .Nov. 30, 1960. . 333
Allegro— (b,l) Oscar Hammerstein U, (m) Richard Rodgers. . 47-48. Oct. 10, 1947. . 315
♦Amadeus- Peter Shaffer 80-81. .Dec. 17, 1980. . 1.022
Ambush— Arthur Richman 21-22. .Oct. 10, 1921. . 98
America Hurrah — Jean-Claude van Itallie 66-67. .Nov. 6, 1966. . 634
American Buffalo— David Mamet 76-77. .Feb. 16, 1977. . 135
American Way, The— George S. Kaufman, Moss Hart 38-39. .Jan. 21, 1939. . 164
Amphitryon 38 — Jean Giraudoux, (ad) S. N. Behrman 37-38. .Nov. 1, 1937. . 153
Andersonville Trial, The— Saul Levitt 59-60. Dec. 29, 1959. . 179
Andorra— Max Frisch, (ad) George Tabori 62-63. .Feb. 9, 1963. . 9
Angel Street— Patrick Hamilton 41^2. .Dec. 5, 1941. . 1,295
Animal Kingdom, The— Phihp Barry 31-32. .Jan. 12,1932.. 183
Anna Christie— Eugene O'Neill 21-22. .Nov. 2, 1921. . 177
Anna Lucasta— Philip Yordan 44-45. .Aug. 30, 1944. . 957
Anne of the Thousand Days— Maxwell Anderson 48-49. Dec. 8, 1948. . 286
Annie — (b) Thomas Meehan, (m) Charles Strouse, (1) Martin
Charnin, based on Harold Gray's comic strip "Little Orphan
Annie" 76-77. .Apr. 21, 1977. . 2,377
Another Language— Rose Franken 31-32. .Apr. 25, 1932. . 344
Another Part of the Forest— Lillian Hellman 46-47. .Nov. 20, 1946. . 182
Antigone— Jean Anouilh, (ad) Lewis Galantiere 45^6. .Feb. 18, 1946. . 64
479
480
THE BEST PLAYS OF 1982-1983
PLAY
Applause — (b) Betty Comden and Adolph Green, (m) Charles
Strouse, (1) Lee Adams, based on the film All About Eve and
the original story by Mary Orr
Apple Tree, The — (b,l) Sheldon Harnick, (b, m) Jerry Bock,
add'l (b) Jerome Coopersmith, based on stories by Mark
Twain, Frank R. Stockton and Jules FeifFer
Arsenic and Old Lace — Joseph Kesselring
As Husbands Go — Rachel Crothers
Ashes — David Rudkin
Autumn Garden, The — Lillian Hellman
Awake and Sing — Clifford Odets
Bad Man, The — Porter Emerson Browne
Bad Habits — Terrence McNally
Bad Seed — Maxwell Anderson, based on William March's novel
Barbara Frietchie — Clyde Fitch
Barefoot in Athens — Maxwell Anderson
Barefoot in the Park — Neil Simon
Barretts of Wimpole Street, The — Rudolf Besier
Becket — Jean Anouilh, (tr) Lucienne Hill
Bedroom Farce — Alan Ayckbourn
Beggar on Horseback — George S. Kaufman, Marc Connelly
Behold the Bridegroom — George Kelly
Bell, Book and Candle — John van Druten
Bell for Adano, A — Paul Osborn, based on John Hersey's
novel
Bent — Martin Sherman
Berkeley Square — John L. Balderston
Bernardine — Mary Chase
Best Little Whorehouse in Texas, The — (b) Larry L.
King, Peter Masterson, (m, 1) Carol Hall
Best Man, The — Gore Vidal
Betrayal — Harold Pinter
Beyond the Horizon — Eugene O'Neill
Big Fish, Little Fish — Hugh Wheeler
Bill of Divorcement, A — Clemence Dane
Billy Budd — Louis O. Coxe, Robert Chapman, based on
Herman Melville's novel
Biography — S. N. Behrman
Black Comedy — Peter Shaffer
Blithe Spirit — Noel Coward
BoESMAN AND LENA — Athol Fugard
Born Yesterday — Garson Kanin
Both Your Houses — Maxwell Anderson
Boy Meets Girl — Bella and Samuel Spewack
Boy Friend, The — (b, 1, m) Sandy Wilson
Boys in the Band, The — Mart Crowley
Bride of the Lamb, The — William Hurlbut
Brief Moment — S. N. Behrman
Brigadoon — (b, 1) Alan Jay Lerner, (m) Frederick Loewe ....
Broadway — Philip Dunning, George Abbott
Burlesque — George Manker Walters, Arthur Hopkins
Bus Stop — William Inge
BuTLEY — Simon Gray
Butter and Egg Man, The — George S. Kaufman
Butterflies Are Free — Leonard Gershe
VOLUME OPENED PERFS
69-70. .Mar. 30. 1970.
896
66-67.
.Oct.
18
1966.
463
40^1.
.Jan.
10
1941.
1,444
30-31.
.Mar.
5
1931.
148
76-77.
.Jan.
25
1977.
167
50-51.
.Mar.
7
1951.
. 101
34-35.
.Feb.
19
1935.
. 209
20-21.
•Aug.
30
1920.
. 350
73-74.
.Feb.
4
1974.
. 273
54-55.
Dec.
8
1954.
. 332
99-09.
Oct.
23
1899.
83
51-52.
.Oct.
31
1951.
30
63-64.
.Oct.
23
1963.
. 1,530
30-31.
.Feb.
9
1931.
. 370
60-61.
Oct.
5
1960.
. 193
78-79.
.Mar.
29
1979.
. 278
23-24.
.Feb.
12
1924.
. 224
27-28.
Dec.
26
1927.
88
50-51.
.Nov.
14
1950.
. 233
44-45.
Dec.
6
1944.
. 304
79-80.
Dec.
2
1979.
. 240
29-30.
.Nov.
4
1929.
. 229
52-53.
.Oct.
16
1952.
. 157
77-78.
.Apr.
17
1978.
. 1,639
59-60.
.Mar.
31
1960.
. 520
79-80.
.Jan.
5
1980.
. 170
19-20.
.Feb.
2
1920.
. 160
60-61.
.Mar.
15
1961.
. 101
21-22.
.Oct.
10
1921.
. 173
50-51.
.Feb.
10
1951.
. 105
32-33.
Dec.
12
1932.
. 267
66-67.
.Feb.
12
1967.
. 337
41^2.
.Nov.
5
1941.
. 657
70-71.
.June
22
1970.
. 205
45^6.
.Feb.
4
1946.
. 1,642
32-33.
.Mar.
6
1933.
72
35-36.
.Nov.
27
1935.
. 669
54-55.
.Sept.
30
1954.
. 485
67-68.
.Apr.
15
1968.
. 1,000
25-26.
.Mar.
30
1926.
. 109
31-32.
.Nov.
9
1931.
. 129
46-47.
.Mar.
13
1947.
. 581
26-27.
.Sept.
16
1926.
. 603
27-28.
.Sept.
1
1927.
. 372
54-55.
.Mar.
2
1955.
. 478
72-73.
.Oct.
31
1972.
. 135
25-26.
.Sept.
23
1925.
243
69-70.
.Oct.
21
1969.
1,128
PLAY
THE BEST PLAYS, 1894-1982 481
VOLUME OPENED PERFS
Cabaret — (b) Joe Masteroff, (m) John Kander, (1) Fred Ebb,
based on John van Druten's play I Am a Camera and stories
by Christopher Isherwood
Cactus Flower — Abe Burrows, based on a play by Pierre
Barillet and Jean-Pierre Gredy
Caine Mutiny Court-Martial, The — Herman Wouk, based
on his novel
California Suite — Neil Simon
Caligula — Albert Camus, (ad) Justin O'Brien
Call It a Day — Dodie Smith
Candide — (b) Lillian Hellman, based on Voltaire's satire (1)
Richard Wilbur, John Latouche, Dorothy Parker, (m)
Leonard Bernstein
Candle in the Wind — Maxwell Anderson
Caretaker, The — Harold Pinter
Case of Rebellious Susan, The — Henry Arthur Jones
Cat on a Hot Tin Roof — Tennessee Williams
Celebration — (b, 1) Tom Jones, (m) Harvey Schmidt
Chalk Garden, The — Enid Bagnold
Changelings, The — Lee Wilson Dodd
Changing Room, The — David Storey
Chapter Two — Neil Simon
Chicago — Maurine Dallas Watkins
Chicago— (b) Fred Ebb, Bob Fosse, (m) John Kander, (1) Fred
Ebb, based on the play by Maurine Dallas Watkins
Chicken Feed — Guy Bolton
Children of a Lesser God — Mark Medoff
Children's Hour, The — Lillian Hellman
Child's Play — Robert Marasco
Chips With Everything — Arnold Wesker
♦Chorus Line, A — (c) Michael Bennett, (b) James Kirkwood,
Nicholas Dante, (m) Marvin Hamlisch, (1) Edward Kleban . .
Christopher Blake — Moss Hart
Circle, The — W. Somerset Maugham
Clarence — Booth Tarkington
Claudia — Rose Franken
Clearing in the Woods, A — Arthur Laurents
Climate of Eden, The — Moss Hart, based on Edgar
Mittleholzer's novel Shadows Move Among Them
Climbers, The — Clyde Fitch
•Cloud 9— Caryl Churchill
Clutterbuck — Benn W. Levy
Cocktail Party, The— T. S. Eliot
Cold Wind and the Warm, The — S. N. Behrman
Collection, The— Harold Pinter
Come Back, Little Sheba — William Inge
Comedians— Trevor Griffiths
Command Decision — William Wister Haines
Company — (b) George Furth, (m, 1) Stephen Sondheim
Complaisant Lover, The — Graham Greene
Conduct Unbecoming — Barry England
Confidential Clerk, The— T. S. Eliot
Connection, The— Jack Gelber (picked as a supplement to
the Best Plays)
Constant Wife, The— W. Somerset Maugham
66-67. .Nov. 20, 1966. .1,165
65-66. .Dec. 8, 1965. . 1,234
53-54. .Jan. 20, 1954. . 415
76-77. .July 2, 1977. . 445
59-60. .Feb. 16, 1960. . 38
35-36. .Jan. 28, 1936. . 194
56-57.
Dec.
1
1956.
73
41^2.
.Oct.
22
1941.
95
61-62.
Oct.
4
1961.
165
94-99.
Dec.
29
1894.
80
54-55.
.Mar.
24
1955.
694
68-69.
.Jan.
22
1969.
109
55-56.
Oct.
26
1955.
182
23-24.
.Sept.
17
1923.
128
72-73.
.Mar.
6
1973.
192
77-78.
Dec.
4
1977.
857
26-27.
Dec.
30
1926.
172
75-76.
.June
3
1975.
898
23-24.
.Sept.
24
1923.
144
79-80.
.Mar.
30
1980.
887
34-35.
.Nov.
20
1934.
691
69-70.
.Feb.
17
1970.
342
63-64.
Oct.
1
1963.
149
74-75.
.Apr.
15
1975.
3,249
46-^7.
.Nov.
30
1946.
114
21-22.
.Sept.
12
1921.
175
19-20.
.Sept.
20
1919.
306
40-41.
.Feb.
12
1941.
722
56-57.
.Jan.
10
1957.
36
52-53.
.Nov.
13
1952.
20
99-09.
.Jan.
21
1901.
163
80-81.
.May
18
1981.
847
49-50.
Dec.
3
1949.
218
49-50.
.Jan.
21
1950.
409
58-59.
Dec.
8
1958.
120
62-63.
.Nov.
26
1962.
578
49-50.
.Feb.
15
1950.
191
76-77.
.Nov.
28
1976.
145
47^8.
Oct.
1
1947.
408
69-70.
.Apr.
26
1970.
705
61-62.
.Nov.
1
1961.
101
70-71.
Oct.
12
1970.
144
53-54.
.Feb.
11
1954.
117
60-61.
Feb.
22,
1961.
722
26-27.
.Nov.
20.
1926.
295
482
THE BEST PLAYS OF 1982-1983
PLAY
Contractor, The — David Storey
Coquette — George Abbott, Ann Preston Bridgers
Corn Is Green, The— Emlyn Williams
Country Girl, The— Clifford Odets
County Chairman, The— George Ade
Cradle Song, The — Gregorio & Maria Martinez Sierra, (tr)
John Garrett Underbill
Craig's Wife — George Kelly
Creation of the World and Other Business, The —
Arthur Miller
Creeps — David E. Freeman
Crimes of the Heart — Beth Henley
Criminal Code, The — Martin Flavin
Crucible, The — Arthur Miller
Cynara — H. M. Harwood, R. F. Gore-Browne
/olum
[E OPENED
73-74.
.Oct. 17, 1973.
27-28.
.Nov. 8, 1927.
4(M1.
.Nov. 26, 1940.
50-51.
.Nov. 10, 1950.
PERFS
"Da" — Hugh Leonard
Daisy Mayme — George Kelly
Damask Cheek, The — John van Druten, Lloyd Morris . . . .
Dance and the Railroad, The— David Henry Hwang . . .
Dancing Mothers — Edgar Selwyn, Edmund Goulding . . . .
Dark at the Top of the Stairs, The — William Inge . . . .
Dark Is Light Enough, The — Christopher Fry
Darkness at Noon— Sidney Kingsley, based on Arthur
Koestler's novel
Darling of the Gods, The — David Beiasco, John Luther
Long
Daughters of Atreus — Robert Tumey
Day in the Death of Joe Egg, A — Peter Nichols
Dead End — Sidney Kingsley
Deadly Game, The — James Yaffe, based on Friedrich
Duerrenmatt's novel
Dear Ruth — Norman Krasna
Death of a Salesman — Arthur Miller
Death Takes a Holiday — Alberto Casella, (ad) Walter
Ferris
Deathtrap — Ira Levin
Deburau — Sacha Guitry, (ad) Harley Granville Barker
Decision — Edward Chodorov
Declassee — Zoe Akins
Deep Are the Roots — Amaud d'Usseau, James Gow
Delicate Balance, A — Edward Albee
Deputy, The — Rolf Hochhuth, (ad) Jerome Rothenberg. . . .
Design for Living — Noel Coward
Desire Under the Elms — Eugene O'Neill
Desperate Hours, The — Joseph Hayes, based on his novel
Detective Story — Sidney Kingsley
Devil Passes, The — Benn W. Levy
Devil's Advocate, The — Dore Schary, based on Morris L.
West's novel
Dial "M" for Murder — Frederick Knott
Diary of Anne Frank, The — Frances Goodrich, Albert
Hackett, based on Anne Frank's The Diary of a Young
Girl
*DiNiNG Room, The — A.R. Gurney Jr
Dinner at Eight — George S. Kaufman, Edna Ferber
99-09. .Nov. 24, 1903.
26-27. .Jan. 24, 1927.
25-26. .Oct. 12, 1925.
72-73. .Nov. 30, 1972.
73-74. .Dec. 4, 1973.
80-81. .Dec. 9, 1980.
29-30. .Oct. 2, 1929.
52-53. .Jan. 22, 1953.
31-32. .Nov. 2, 1931.
77-78. .May 1, 1978.
26-27. .Oct. 25, 1926.
42^3. .Oct. 22, 1942.
81-82. .July 16, 1981.
24-25. .Aug. 11, 1924.
57-58. .Dec. 5, 1957.
54-55. .Feb. 23, 1955.
50-51. Jan. 13, 1951.
90-09. .Dec. 3, 1902.
36-37. .Oct. 14, 1936.
67-68. .Feb. 1, 1968.
35-36. .Oct. 28, 1935.
59-60. .Feb. 2, 1960.
44-45. .Dec. 13, 1944.
48^9. .Feb. 10. 1949.
29-30.
77-78.
20-21.
43^W.
19-20.
45^6.
66-67.
63-64.
32-33.
24-25.
54-55.
48^9.
31-32.
.Dec.
.Feb.
Dec.
.Feb.
.Oct.
.Sept.
.Sept.
.Feb.
.Jan.
.Nov.
.Feb.
.Mar.
Jan.
26, 1929.
26, 1978.
23, 1920.
2, 1944.
6, 1919.
26, 1945.
22, 1966.
26, 1964.
24, 1933.
11, 1924.
10, 1955.
23, 1949.
4, 1932.
60-61. .Mar. 9, 1961.
52-53. .Oct. 29, 1952.
55-56. .Oct. 5, 1955. . 717
81-82. .Feb. 24, 1982. . 552
32-33. .Oct. 22, 1932. . 232
THE BEST PLAYS, 1894-1982
483
PLAY VOLUME OPENED PERFS
Disenchanted, The — Budd Schulberg, Harvey Breit, based on
Mr. Schulberg's novel 58-59. .Dec. 3,
Disraeli— Louis N. Parker 09-19. .Sept. 18,
Distaff Side, The — John van Druten 34-35. .Sept. 25,
DODSWORTH — Sidney Howard, based on Sinclair Lewis's novel 33-34. .Feb. 24,
DouGHGiRLS, The — Joseph Fields 42-43. .Dec. 30,
Dover Road, The— A. A. Milne 21-22. .Dec. 23,
Dream Girl — Elmer Rice 45-46. .Dec. 14,
Dresser, The — Ronald Harwood 81-82. .Nov. 9,
Duel of Angels — Jean Giraudoux's Pour Lucrece, (ad)
Christopher Fry 59-60. .Apr. 19,
DULCY — George S. Kaufman, Marc Connelly 21-22. .Aug. 13,
Dybbuk, The— S. Ansky, (ad) Henry G. Alsberg 25-26. .Dec. 15,
Dylan — Sidney Michaels 63-64. .Jan. 18,
Easiest Way, The— Eugene Walter 09-19. .Jan. 19,
Eastward in Eden — Dorothy Gardner 47-48. .Nov. 18,
Edward, My Son— Robert Morley, Noel Langley 48-49. .Sept. 30,
Effect of Gamma Rays on Man-in-the-Moon
Marigolds, The — Paul Zindel 69-70. .Apr. 7.
Egg, The— Felicien Marceau, (ad) Robert Schlitt 61-62. .Jan.
Elephant Man, The — Bernard Pomerance 78-79. .Jan. 14,
Elizabeth the Queen — Maxwell Anderson 30-31. .Nov. 3,
Emperor Jones, The— Eugene O'Neill 20-21. .Nov. I
Emperor's Clothes, The — George Tabori 52-53. .Feb. 9,
Enchanted, The — Maurice Valency, based on Jean
Giraudoux's play Intermezzo 49-50. .Jan. li
End of Summer— S. N. Behrman 35-36. .Feb. 17,
Enemy, The— Channing Pollock 25-26. .Oct. 20,
Enter Madame— Gilda Varesi, Dolly Byrne 20-21. .Aug. 16,
Entertainer, The— John Osborne 57-58. .Feb. 12,
Epitaph for George Dillon — John Osborne, Anthony
Creighton 58-59. .Nov. 4,
Equus— Peter Shaffer 74-75. .Oct. 24,
Escape— John Galsworthy 27-28. .Oct. 26,
Ethan Frome — Owen and Donald Davis, based on Edith
Wharton's novel 35-36. .Jan. 21,
Eve of St. Mark, The — Maxwell Anderson 42-43. .Oct. 7,
Excursion— Victor Wolfson 36-37. .Apr. 9,
Fall Guy, The— James Gleason, George Abbott 24-25. .Mar. 10,
Family Business— Dick Goldberg 77-78. .Apr. 12,
Family Portrait — Lenore Coffee, William Joyce Cowen 38-39. .May 8,
Famous Mrs. Fair, The— James Forbes 19-20. .Dec. 22,
Far Country, A— Henry Denker 60-61. .Apr. 4.
Farmer Takes a Wife, The — Frank B. Elser, Marc Connelly,
based on Walter D. Edmonds's novel Rome Haul 34-35. .Oct. 30,
Fatal Weakness, The— George Kelly 46-47. .Nov. 19,
Fiddler on the Roof — (b) Joseph Stein, (1) Sheldon Harnick,
(m) Jerry Bock, based on Sholom Aleichem's stories 64-65. .Sept. 22,
5th of July, The— Lanford Wilson (also called Fifth of July). 11-1%. .Apr. 27,
Find Your Way Home— John Hopkins 73-74. .Jan. 2,
Finishing Touches — Jean Kerr 72-73. .Feb. 8,
FiORELLo! — (b) Jerome Weidman, George Abbott, (1) Sheldon
Harnick, (m) Jerry Bock 59-60. .Nov. 23,
Firebrand, The— Edwin Justus Mayer 24-25. .Oct. 15,
, 1958.
189
, 1911.
280
, 1934.
177
, 1934.
315
, 1942.
671
, 1921.
324
. 1945.
348
. 1981.
200
, 1960.
51
, 1921.
246
, 1925.
120
, 1964.
153
, 1909.
157
, 1947.
15
), 1948.
260
, 1970.
819
, 1962.
8
\, 1979.
916
, 1930.
147
, 1920.
204
>, 1953.
16
, 1950.
45
\ 1936.
153
), 1925.
203
), 1920.
350
., 1958.
97
K 1958.
23
\, 1974.
1,209
), 1927.
173
, 1936.
120
^ 1942.
307
). 1937.
116
), 1925.
176
, 1978.
438
, 1939.
111
., 1919.
344
\, 1961.
271
), 1934.
104
>, 1946.
119
., 1964.
3,242
, 1978.
158
, 1974.
135
, 1973.
164
, 1959.
795
, 1924.
269
484
THE BEST PLAYS OF 1982-1983
PLAY
First Lady — Katharine Dayton, George S. Kaufman
First Monday in October— Jerome Lawrence, Robert E.
Lee
First Mrs. Fraser, The— St. John Ervine
First Year, The — Frank Craven
Five Finger Exercise — Peter Shaffer
Five-Star Final — Louis Weitzenkorn
Flight to the West— Elmer Rice
Floating Light Bulb, The — Woody Allen
Flowering Peach, The — Clifford Odets
Follies — (b) James Goldman, (m, 1) Stephen Sondheim . . . .
Fool, The — Channing Pollock
Foolish Notion — Philip Barry
Forty Carats — Pierre Barillet and Jean-Pierre Gredy, (ad)
Jay Allen
*42nd Street — (b) Michael Stewart, Mark Bramble, (m,l)
Harry Warren, Al Dubin, (add'l 1) Johnny Mercer, Mort
Dixon, based on the novel by Bradford Ropes
Fourposter, The — Jan de Hartog
Front Page, The — Ben Hecht, Charles MacArthur
VOLUME OPENED PERFS
35-36. .Nov. 26, 1935. . 246
78-79.
.Oct.
3,
1978.
79
29-30.
Dec.
28,
1929.
352
20-21.
Oct.
20,
1920.
760
59-60.
Dec.
2,
1959.
337
30-31.
Dec.
30,
1930.
175
40-41.
Dec.
30,
1940.
136
80-81.
.Apr.
27,
1981.
65
54-55.
Dec.
28,
1954.
135
70-71.
.Apr.
4,
1971.
521
22-23.
.Oct.
23,
1922.
373
44-45.
.Mar.
3,
1945.
104
68-69. .Dec. 26, 1968.
Generation — William Goodhart
George Washington Slept Here — George S. Kaufman,
Moss Hart
Getting Out — Marsha W. Norman
Gideon— Paddy Chayefsky
GiGi — Anita Loos, based on Colette's novel
Gimme Shelter — Barrie Keefe (Gem, Gotcha and Getaway) . .
Gin Game, The — D. L. Coburn
Gingerbread Lady, The — Neil Simon
Girl on the Via Flaminia, The — Alfred Hayes, based on
his novel
Glass Menagerie, The — Tennessee Williams
Golden Apple, The — (b, 1), John Latouche, (m) Jerome
Moross
Golden Boy— Clifford Odets
Good Doctor, The — Neil Simon; adapted from and suggested
by stories by Anton Chekhov
Good Gracious Annabelle — Clare Kummer
Goodbye, My Fancy — Fay Kanin
Goose Hangs High, The — Lewis Beach
Grand Hotel — Vicki Baum, (ad) W. A. Drake
Great Divide, The — William Vaughn Moody
Great God Brown, The — Eugene O'Neill
Great White Hope, The — Howard Sackler
Green Bay Tree, The — Mordaunt Shairp
Green Goddess, The — William Archer
Green Grow the Lilacs — Lynn Riggs
Green Hat, The — Michael Arlen
Green Julia — Paul Ableman
Green Pastures, The — Marc Connelly, based on Roark
Bradford's 01 Man Adam and His Chillun
Guys and Dolls — (b) Jo Swerling, Abe Burrows, based on a
story and characters by Damon Runyon, (1, m) Frank
Loesser
Gypsy — Maxwell Anderson
780
80-81. .Aug. 25, 1980. . 1,154
51-52. .Oct. 24, 1951. . 632
28-29. .Aug. 14, 1928. . 276
65-66. .Oct. 6, 1965. . 299
40-41.
Oct.
18,
1940. .
173
78-79.
Oct.
19,
1978. .
259
61-62.
.Nov.
9,
1961. .
236
51-52.
.Nov.
24,
1951. .
219
78-79.
.Dec.
10,
1978. .
17
77-78.
.Oct.
6,
1977. .
517
70-71.
Dec.
13.
1970. .
193
53-54.
.Feb.
9,
1954. .
111
44-45.
.Mar.
31,
1945. .
561
53-54.
.Apr.
20,
1954. .
125
37-38.
.Nov.
4,
1937. .
250
73-74.
.Nov.
27,
1973. .
208
09-19.
Oct.
31,
1916. .
111
48^9.
.Nov.
17,
1948. .
446
23-24.
.Jan.
29,
1924. .
183
30-31.
.Nov.
13,
1930. .
459
99-09.
Oct.
3,
1906. .
238
25-26.
.Jan.
23,
1926. .
271
68-69.
Oct.
3,
1968. .
556
33-34.
Oct.
20,
1933. .
166
20-21.
.Jan.
18,
1921. .
440
30-31.
.Jan.
26,
1931. .
64
25-26.
.Sept.
15,
1925. .
231
72-73.
.Nov.
16,
1972. .
147
29-30.
.Feb.
26,
1930. .
640
50-51. .Nov. 24, 1950. . 1,200
28-29. .Jan. 14, 1929. . 64
THE BEST PLAYS, 1894-1982 485
PLAY VOLUME OPENED PERFS
Hadrian VII— Peter Luke, based on works by Fr. Rolfe 68-69. Jan. 8, 1969. . 359
Hamp — John Wilson; based on an episode from a novel by J. L.
Hodson 66-67. .Mar. 9, 1967. . 101
Happy Time, The — Samuel Taylor, based on Robert Fontaine's
book 49-50. .Jan. 24, 1950. . 614
Harriet— Florence Ryerson, Colin Clements 42^3. .Mar. 3, 1943. . 377
Harvey— Mary Chase 44-45. .Nov. 1, 1944. . 1.775
Hasty Heart, The— John Patrick 44-45. .Jan. 3, 1945. . 207
He Who Gets Slapped — Leonid Andreyev, (ad) Gregory
Zilboorg 21-22. .Jan. 9, 1922. . 308
Heart of Maryland, The— David Belasco 94-99. .Oct. 22, 1895. . 240
Heiress, The — Ruth and Augustus Goetz, suggested by Henry
James's novel Washington Square 47-48. .Sept. 29, 1947. . 410
Hell-Bent fer Heaven— Hatcher Hughes 23-24. .Jan. 4, 1924. . 122
Hello, Dolly! — (b) Michael Stewart, (m, 1) Jerry Herman,
based on Thornton Wilder's The Matchmaker 63-64. .Jan. 16, 1964. . 2,844
Her Master's Voice— Clare Kummer 33-34. .Oct. 23, 1933. . 224
Here Come the Clowns— Philip Barry 38-39. .Dec. 7, 1938. . 88
Hero, The— Gilbert Emery 21-22. .Sept. 5, 1921. . 80
High Tor— Maxwell Anderson 36-37. .Jan. 9, 1937. . 171
HoGAN's Goat— William Alfred 65-66. .Nov. 11, 1965. . 607
Holiday— Phihp Barry 28-29. .Nov. 26, 1928. . 229
Home— David Storey 70-71. .Nov. 17, 1970. . 1 10
Home— Samm-Art Williams 79-80. .Dec. 14, 1979. . 361
Homecoming, The — Harold Pinter 66-67. .Jan. 5, 1967. . 324
Home of the Brave — Arthur Laurents 45-46. .Dec. 27, 1945. . 69
Hope for a Harvest— Sophie Treadwell 41-42. .Nov. 26, 1941. . 38
Hostage, The— Brendan Behan 60-61. .Sept. 20, 1960. . 127
Hot l Baltimore, The— Lanford Wilson 72-73. .Mar. 22, 1973. . 1,166
House OF Blue Leaves, The— John Guare 70-71. .Feb. 10,1971.. 337
House of Connelly, The— Paul Green 31-32. .Sept. 28, 1931. . 91
How to Succeed in Business Without Really Trying —
(b) Abe Burrows, Jack Weinstock, Willie Gilbert based on
Shepherd Mead's novel, (1, m) Frank Loesser 61-62. .Oct. 14, 1961. . 1,417
I Am a Camera — John van Druten, based on Christopher
Isherwood's Berhn stories 51-52. .Nov. 28, 1951. . 214
I Know My Love — S. N. Behrman, based on Marcel Achard's
Aupres de ma Blonde 49-50. .Nov. 2, 1949. . 246
I Never Sang for My Father— Robert Anderson 67-68. .Jan. 25, 1968. . 124
I Ought To Be in Pictures— Neil Simon 79-80. .Apr. 3, 1980. . 324
I Remember Mama — John van Druten, based on Kathryn
Forbes's book Mama's Bank Account 44—45. .Oct. 19, 1944. . 714
Icebound— Owen Davis 22-23. .Feb. 10, 1923. . 171
Iceman Cometh, The— Eugene O'Neill 46-^7. .Oct. 9, 1946. . 136
Idiot's Delight— Robert E. Sherwood 35-36. .Mar. 24, 1936. . 300
If I Were King— Justin Huntly McCarthy 99-09. .Oct. 14,1901.. 56
Immoralist, The — Ruth and Augustus Goetz, based on Andre
Gide's novel 53-54. .Feb. 8, 1954. . 96
In Abraham's Bosom— Paul Green 26-27. Dec. 30, 1926. . 116
In the Matter of J. Robert Oppenheimer — Heinar
Kipphardt, (tr) Ruth Speirs 68-69. Mar. 6, 1969. . 64
In the Summer House— Jane Bowles 53-54. Dec. 29, 1953. . 55
In Time to Come— Howard Koch, John Huston 41-42. .Dec. 28, 1941. . 40
Inadmissible Evidence— John Osborne 65-66. .Nov. 30, 1965. . 166
Incident at Vichy— Arthur Miller 64-65. .Dec. 3, 1964. . 99
486
THE BEST PLAYS OF 1982-1983
PLAY VOLUME OPENED PERFS
Indians— Arthur L. Kopit 69-70. .Oct. 13, 1969. . 96
Inherit the Wind — Jerome Lawrence, Robert E. Lee 54-55. .Apr. 21, 1955. . 806
Innocents, The — William Archibald, based on Henry James's
The Turn of the Screw 49-50. .Feb. 1, 1950. . 141
Innocent Voyage, The — Paul Osborn, based on Richard
Hughes's novel A High Wind in Jamaica 43-44. .Nov. 15, 1943. . 40
Inspector Calls, An— J. B. Priestley 47^8. .Oct. 21, 1947. . 95
Island, The— Athol Fugard, John Kani, Winston Ntshona . . . 74-75. .Nov. 24, 1974. . 52
"It's a Bird It's a Plane It's SUPERMAN"— (b) David
Newman and Robert Benton, (1) Lee Adams, (m) Charles
Strouse, based on the comic strip "Superman" 65-66. .Mar. 29, 1966. . 129
J. B.— Archibald MacLeish 58-59. .Dec. 1 1, 1958. . 364
Jacobowsky and the Colonel — S. N. Behrman, based on
Franz Werfel's play 43-44. .Mar. 14, 1944. . 417
Jane — S. N. Behrman, suggested by W. Somerset Maugham's
story 51-52. .Feb. 1, 1952. .
Jane Clegg — St. John Ervine 19-20. .Feb. 23, 1920. .
Jason— Samson Raphaelson 41^2. .Jan. 21, 1942. .
Jesse and the Bandit Queen — David Freeman 75-76. .Oct. 17, 1975. .
Jest, The— Sem Benelli, (ad) Edward Sheldon 19-20. .Sept. 19, 1919. .
Joan of Lorraine — Maxwell Anderson 46-47. .Nov. 18, 1946. .
Joe Egg (see A Day in the Death of Joe Egg)
John Ferguson— St. John Ervine 09-19. .May 13, 1919. .
John Loves Mary— Norman Krasna 46-47. .Feb. 4, 1947. .
Johnny Johnson— (b), 1) Paul Green, (m) Kurt Weill 36-37. .Nov. 19, 1936. .
Journey's End— R. C. Sherriff 28-29. .Mar. 22, 1929. .
Jumpers— Tom Stoppard 73-74. .Apr. 22, 1974. .
June Moon— Ring W. Lardner, George S. Kaufman 29-30. .Oct. 9, 1929. .
Junior Miss — Jerome Chodorov, Joseph Fields 41-42. .Nov. 18, 1941. .
Kataki— Shimon Wincelberg 58-59. .Apr. 9, 1959. .
Key Largo— Maxwell Anderson 39-40. .Nov. 27, 1939. .
Killing of Sister George, The — Frank Marcus 66-67. .Oct. 5, 1966. .
Kingdom of God, The — G. Martinez Sierra, (ad) Helen and
Harley Granville Barker 28-29. .Dec. 20, 1928. .
Kiss and Tell— F. Hugh Herbert 42-43. .Mar. 17, 1943. .
Kiss the Boys Goodbye— Clare Boothe 38-39. .Sept. 28, 1938. .
Knock Knock— Jules Feiffer 75-76. .Jan. 18, 1976. .
Lady From Dubuque, The — Edward Albee 79-80. .Jan. 31, 1980. .
Lady in the Dark — (b) Moss Hart, (1) Ira Gershwin, (m)
Kurt Weill 40-41. .Jan. 23, 1941. .
Lark, The — Jean Anouilh, (ad) Lillian Hellman 55-56. .Nov. 17, 1955. .
Last Meeting of the Knights of the White Magnolia,
The— Preston Jones 76-77. .Sept. 22, 1976. .
Last Mile, The— John Wexley 29-30. .Feb. 13, 1930. .
Last of the Red Hot Lovers— Neil Simon 69-70. .Dec. 28, 1969. .
Late Christopher Bean, The — (ad) Sidney Howard from
the French of Rene Fauchois 32-33. .Oct. 31, 1932. .
Late George Apley, The — John P. Marquand, George S.
Kaufman, based on Mr. Marquand's novel 44-^5. .Nov. 23, 1944. .
Leah Kleschna— C. M. S. McLellan 99-09. .Dec. 12, 1904. .
Left Bank, The— Elmer Rice 31-32. .Oct 5, 1931. .
Lesson From Aloes, A— Athol Fugard 80-81. .Nov. 17, 1980. .
Let Us Be Gay— Rachel Crothers 28-29. .Feb. 19, 1929. .
THE BEST PLAYS, 1894-1982
487
PLAY
VOLUME OPENED PERFS
Letters to Lucerne — Fritz Rotter, Allen Vincent
Life, A — Hugh Leonard
Life & Adventures of Nicholas Nickleby, The — (ad)
David Edgar, from Charles Dickens's novel
Life in the Theater, A — David Mamet
Life With Father — Howard Lindsay, Russel Crouse, based
on Clarence Day's book
Life With Mother — Howard Lindsay, Russel Crouse, based
on Clarence Day's book
Light Up the Sky — Moss Hart
LiLiOM — Ferenc Molnar, (ad) Benjamin Glazer
Lion in Winter, The — James Goldman
Little Accident — Floyd Dell, Thomas Mitchell
Little Foxes, The — Lillian Hellman
Little Minister, The — James M. Barrie
Little Night Music, A — (b) Hugh Wheeler, (m, 1) Stephen
Sondheim, suggested by Ingmar Bergman's film Smiles of a
Summer Night
Living Room, The — Graham Greene
Living Together — Alan Ayckbourn
Long Day's Journey Into Night — Eugene O'Neill
Look Back in Anger — John Osborne
Look Homeward, Angel — Ketti Frings, based on Thomas
Wolfe's novel
Loose Ends — Michael Weller
Lost Horizons — Harry Segall, revised by John Hayden
Lost in the Stars — (b, 1) Maxwell Anderson, based on Alan
Paton's novel Cry, the Beloved Country, (m) Kurt Weill
Love of Four Colonels, The — Peter Ustinov
Lovers — Brian Friel
Loyalties — John Galsworthy
Lunch Hour — Jean Kerr
Lute Song — (b) Sidney Howard, Will Irwin, from the Chinese
classic Pi-Pa-Ki, (1) Bernard Hanighen, (m) Raymond Scott. .
Luther — John Osborne
Luv — Murray Schisgal
Machinal — Sophie Treadwell
Madwoman of Chaillot, The — Jean Giraudoux, (ad)
Maurice Valency
Magic and the Loss, The— Julian Funt
Magnificent Yankee, The — Emmet Lavery
Male Animal, The — James Thurber, Elliott Nugent
Mamma's Affair — Rachel Barton Butler
Man for All Seasons, A— Robert Bolt
Man From Home, The — Booth Tarkington, Harry Leon
Wilson
Man in the Glass Booth, The— Robert Shaw
Man of La Mancha — (b) Dale Wasserman, suggested by the
life and works of Miguel de Cervantes y Saavedra, (1) Joe
Darion, (m) Mitch Leigh
Man Who Came to Dinner, The — George S. Kaufman,
Moss Hart
Marat/Sade (see The Persecution and Assassination of Marat,
etc.)
Margin for Error — Clare Boothe
41-42. .Dec. 23, 1941. . 23
80-81. .Nov. 2, 1980. . 72
81-82. .Oct. 4, 1981. . 49
77-78. .Oct. 20, 1977. . 288
39-40. .Nov. 8, 1939. . 3,224
48^9.
Oct.
20.
1948. .
265
48-49.
.Nov.
18,
1948. .
216
20-21.
.Apr.
20,
1921. .
300
65-66.
.Mar.
3,
1966. .
92
28-29.
Oct.
9,
1928. .
303
38-39.
.Feb.
15,
1939. .
410
94-99.
.Sept.
27,
1897. .
300
72-73.
.Feb.
25.
1973. .
600
54-55.
.Nov.
17,
1954 .
22
75-76.
Dec.
7,
1975. .
76
56-57.
.Nov.
7,
1956. .
390
57-58.
Oct.
1,
1957. .
407
57-58.
.Nov.
28.
1957. .
564
79-80.
.June
6.
1979. .
284
34-35.
Oct.
15,
1934 .
56
49-50.
Oct.
30,
1949. .
273
52-53.
.Jan.
15,
1953. .
141
68-69.
.July
25,
1968. .
148
22-23.
.Sept.
27,
1922. .
220
80-81.
.Nov.
12,
1980. .
262
45-46.
.Feb.
6,
1946. .
385
63-64.
.Sept.
25,
1963. .
211
64-65.
.Nov.
11,
1964. .
901
28-29.
Sept.
7,
1928. .
91
48-49.
Dec.
27,
1948. .
368
53-54.
.Apr.
9,
1954 .
27
45^6.
.Jan.
22,
1946. .
160
39-40.
.Jan.
9,
1940. .
243
19-20.
.Jan.
29,
1920. .
98
61-62.
.Nov.
22,
1961. .
637
99-09.
Aug.
17.
1908. .
406
68-69.
Sept.
26,
1968. .
268
65-66. .Nov. 22. 1965. . 2.328
39-40. Oct. 16. 1939. . 739
39-40. .Nov. 3. 1939.
264
488
THE BEST PLAYS OF 1982-1983
PLAY VOLUME OPENED PERFS
Mary, Mary — Jean Kerr 60-61. .Mar. 8,
Mary of Scotland — Maxwell Anderson 33-34. .Nov. 27,
Mary Rose — James M. Barrie 20-21. .Dec. 20,
Mary the 3rd — Rachel Crothers 22-23. .Feb. 5,
Mass Appeal— Bill C. Davis 81-82. .Nov. 12,
"Master Harold" . . . and the boys — Athol Fugard 81-82. .May 4,
Matchmaker, The — Thornton Wilder, based on Johann
Nestroy's Einen Jux Will Er Sich Machen, based on John
Oxenford's A Day Well Spent 55-56. .Dec. 5,
Me and Molly — Gertrude Berg 47-48. .Feb. 26,
Member of the Wedding, The — Carson McCullers, adapted
from her novel 49-50. .Jan. 5,
Men in White— Sidney Kingsley 33-34. .Sept. 26,
Merrily We Roll Along — George S. Kaufman, Moss Hart . 34-35. .Sept. 29,
Merton of the Movies — George S. Kaufman, Marc
Connelly, based on Harry Leon Wilson's novel 22-23. .Nov. 13,
Michael and Mary — A. A. Milne 29-30. .Dec. 13,
Milk Train Doesn't Stop Here Anymore, The — Tennessee
Williams 62-63. .Jan. 16,
MiNiCK— George S. Kaufman, Edna Ferber 24-25. .Sept. 24,
Mister Roberts — Thomas Heggen, Joshua Logan, based on
Thomas Heggen's novel 47-48. .Feb. 18,
Moon for the Misbegotten, A — Eugene O'Neill 56-57. .May 2,
Moon Is Down, The — John Steinbeck 41-42. .Apr. 7,
MOONCHILDREN— Michael Weller 71-72. .Feb. 21,
Morning's at Seven — Paul Osborn 39-40. .Nov. 30,
Mother Courage and Her Children — Bertolt Brecht, (ad)
Eric Bentley 62-63. .Mar. 28,
Mourning Becomes Electra — Eugene O'Neill 31-32. .Oct. 26,
Mr. and Mrs. North — Owen Davis, based on Frances and
Richard Lockridge's stories 40-41. .Jan. 12,
Mrs. Bumstead-Leigh — Harry James Smith 09-19. .Apr. 3,
Mrs. McThing— Mary Chase 51-52. .Feb. 20,
Mrs. Partridge Presents — Mary Kennedy, Ruth Hawthorne 24-25. .Jan. 5,
My Fair Lady — (b, 1) Alan Jay Lerner, based on George
Bernard Shaw's Pygmalion, (m) Frederick Loewe 55-56. .Mar. 15,
My Sister Eileen — Joseph Fields, Jerome Chodorov, based on
Ruth McKenney's stories 40-41. .Dec. 26,
My 3 Angels — Samuel and Bella Spewack, based on Albert
Huston's play La Cuisine des Anges 52-53. .Mar. 1 1,
National Health, The— Peter Nichols 74-75. .Oct. 10,
Native Son — Paul Green, Richard Wright, based on Mr.
Wright's novel 40-41. .Mar. 24,
Nest, The — (ad) Grace George, from Paul Geraldy's Les Noces
d'Argent 21-22. .Jan. 28,
Nevis Mountain Dew— Steve Carter 78-79. .Dec. 7,
Next — (see Adaptation)
Next Time I'll Sing to You — James Saunders 63-64. .Nov. 27,
Nice People— Rachel Crothers 20-21. .Mar. 2,
Nicholas Nickleby (see The Life & Adventures of Nicholas
Nickleby)
Night of the Iguana, the — Tennessee Williams 61-62. .Dec. 28,
♦Nine — (b) Arthur Kopit, (m, 1) Maury Yeston, (ad) Mario
Fratti, from the Italian 81-82. .May 9,
No More Ladies— A. E. Thomas 33-34. .Jan. 23,
1961.
1,572
1933.
248
1921.
127
1923.
162
1981.
318
1982.
344
1955.
486
1948.
156
1950.
501
1933.
351
1934.
155
1922.
381
1929.
246
1963.
69
1924.
141
1948.
1,157
1957.
68
1942.
71
1972.
16
1939.
44
1963.
52
1931.
150
1941.
163
1911.
64
1952.
350
1925.
144
1956.
2,717
1940.
864
1953.
344
1974.
53
1941.
1922.
1978.
1963.
1921.
1961.
1982.
1934.
THE BEST PLAYS, 1894-1982
489
PLAY
No Place To Be Somebody— Charles Gordone
No Time for Comedy — S. N. Berhman
No Time for Sergeants — Ira Levin, based on Mac Hyman's
novel.
Noel Coward in Two Keys — Noel Coward (Come Into the
Garden Maud and A Song at Twilight)
Norman Conquests, The — (see Living Together, Round and
Round the Garden and Table Manners)
Nuts — Tom Topor
VOLUME OPENED PERFS
68-69. .May 4, 1969. . 250
38-39. .Apr. 17, 1939. . 185
55-56. .Oct. 20, 1955. . 796
73-74. .Feb. 28, 1974. . 140
O Mistress Mine — Terence Rattigan
Odd Couple, The — Neil Simon
Of Mice and Men — John Steinbeck
Of Thee I Sing — (b) George S. Kaufman, Morrie Ryskind, (1)
Ira Gershwin, (m) George Gershwin
Oh Dad, Poor Dad, Mama's Hung You in the Closet
AND I'M Feelin' So Sad — Arthur L. Kopit
Oklahoma! — (b, 1) Oscar Hammerstein, II, based on Lynn
Riggs's play Green Grow the Lilacs, (m) Richard Rodgers . . .
Old Maid, The — Zoe Akins, based on Edith Wharton's novel.
Old Soak, The — Don Marquis
Old Times — Harold Pinter
Oldest Living Graduate, The — Preston Jones
On Borrowed Time — Paul Osborn, based on Lawrence
Edward Watkin's novel
On Golden Pond — Ernest Thompson
On Trial — Elmer Rice
Once in a Lifetime — Moss Hart, George S. Kaufman
One Sunday Afternoon — James Hagan
Orpheus Descending — Tennessee Williams
Otherwise Engaged — Simon Gray
Outrageous Fortune — Rose Franken
Our Town — Thornton Wilder
Outward Bound — Sutton Vane
Over 21— Ruth Gordon
Overture — William Bolitho
P.S. 193— David Rayfiel
Pacific Overtures — (b) John Weidman, (m, 1) Stephen
Sondheim, additional material by Hugh Wheeler
Paris Bound — Philip Barry
Passion of Joseph D., The — Paddy Chayefsky
Patriots, The — Sidney Kingsley
Period of Adjustment— Tennessee Williams
Persecution and Assassination of Marat as Performed
BY the Inmates of the Asylum of Charenton Under
the Direction of the Marquis de Sade, The — Peter
Weiss, English version by Geoffrey Skelton, verse (ad) Adrian
Mitchell
Petrified Forest, The— Robert E. Sherwood
Philadelphia, Here I Come!— Brian Friel
Philadelphia Story, The — Philip Barry
Philanthropist, The— Christopher Hampton
Physicists, The— Friedrich Duerrenmatt, (ad) James Kirkup. .
Pick Up Girl— Elsa Shelley
Picnic— William Inge
79-80. .Apr. 28, 1980.
61-62. .Feb. 26, 1962.
96
45-^6. .Jan. 23, 1946. . 452
64-65. .Mar. 10, 1965. . 964
37-38. .Nov. 23, 1937. . 207
31-32. .Dec. 26, 1931. . 441
454
42^3. .Mar. 31, 1943. .2,212
34-35. .Jan. 7, 1935. . 305
22-23. .Aug. 22, 1922. . 423
71-72. .Nov. 16, 1971. . 119
76-77. .Sept. 23, 1976. . 20
37-38.
.Feb.
1938. .
321
78-79.
.Sept.
13,
1978. .
156
09-19.
•Aug.
19,
1914. .
365
30-31.
.Sept.
24,
1930. .
406
32-33.
.Feb.
15,
1933. .
322
56-57.
.Mar.
1957. .
68
76-77.
.Feb.
1977. .
309
43^H.
.Nov.
1943. .
77
37-38.
.Feb.
1938. .
336
23-24.
.Jan.
1924. .
144
43^H.
Jan.
1944. .
221
30-31.
Dec.
1930. .
41
62-63.
.Oct.
30,
1962. .
48
75-76.
.Jan.
11.
1976. .
193
27-28.
Dec.
27,
1927. .
234
63-64.
.Feb.
11,
1964. .
15
42-43.
.Jan.
29,
1943. .
173
60-61.
.Nov.
10,
1960. .
132
65-66.
Dec.
27,
1965.
144
34-35.
Jan.
7,
1935.
197
65-66.
.Feb.
16,
1966.
326
38-39.
.Mar.
28,
1939.
417
70-71.
.Mar.
15,
1971.
72
64-65.
Oct.
13,
1964.
55
43^W.
May
3,
1944.
198
52-53.
.Feb.
19,
1953.
477
I
490
THE BEST PLAYS OF 1982-1983
PLAY
Pigeons and People — George M. Cohan
Play's the Thing, The— Ferenc Molnar, (ad) P. G.
Wodehouse
Plaza Suite — Neil Simon
Pleasure of His Company, The — Samuel Taylor, Cornelia
Otis Skinner
Plough and the Stars, The— Sean O'Casey
Point of No Return — Paul Osborn, based on John P.
Marquand's novel
Ponder Heart, The — Joseph Fields, Jerome Chodorov, based
on Eudora Welly's story
Poor Bitos— Jean Anouilh, (tr) Lucienne Hill
PORGY — Dorothy and DuBose Hey ward
Potting Shed, The — Graham Greene
Prayer for My Daughter, A — Thomas Babe
Price, The— Arthur Miller
Pride and Prejudice— Helen Jerome, based on Jane Austen's
novel
Prisoner of Second Avenue, The— Neil Simon
Prologue to Glory — E. P. Conkle
VOLUME OPENED PERES
32-33. Jan. 16, 1933. . 70
R.U.R.— Karel Capek
Racket, The— Bartlett Cormack
Rain — John Colton, Clemence Randolph, based on the story by
W. Somerset Maugham
Raisin in the Sun, A — Lorraine Hansberry
Rattle of a Simple Man— Charles Dyer
Rebel Women — Thomas Babe
Rebound — Donald Ogden Stewart
Rehearsal, The — Jean Anouilh, (ad) Pamela Hansford
Johnson and Kitty Black
Remains To Be Seen — Howard Lindsay, Russel Crouse
Requiem for a Nun — Ruth Ford, William Faulkner, adapted
from Mr. Faulkner's novel
Reunion in Vienna — Robert E. Sherwood
Rhinoceros — Eugene lonesco, (tr) Derek Prouse
RiTZ, The — Terrence McNally
River Niger, The — Joseph A. Walker
Road to Rome, The — Robert E. Sherwood
Rocket to the Moon — Clifford Odets
Romance — Edward Sheldon
Rope Dancers, The — Morton Wishengrad
Rose Tattoo, The — Tennessee Williams
Rosencrantz and Guildenstern Are Dead — Tom
Stoppard
Round and Round the Garden — Alan Ayckboum
Royal Family, The — George S. Kaufman, Edna Ferber
Royal Hunt of the Sun, The — Peter Shaffer
Rugged Path, The — Robert E. Sherwood
Runner Stumbles, The — Milan Stitt
St. Helena — R. C. Sheriff, Jeanne de Casalis
Same Time, Next Year — Bernard Slade
Saturday's Children — Maxwell Anderson
Screens, The — Jean Genet, (tr) Minos Volanakis.
Scuba Duba — Bruce Jay Friedman
26-27.
.Nov.
3
1926.
326
67-68.
.Feb.
14
1968.
1,097
58-59.
.Oct.
22
1958.
474
27-28.
.Nov.
28
1927.
32
51-52.
.Dec.
13
1951.
364
55-56.
.Feb.
16
1956.
149
64-65.
.Nov.
14
1964.
17
27-28.
.Oct.
10
1927.
367
56-57.
.Jan.
29
1957.
143
77-78.
.Dec.
27
1977.
127
67-68.
.Feb.
7
1968.
429
35-36.
.Nov.
5
1935.
219
71-72.
.Nov.
11
1971.
780
37-38.
.Mar.
17
1938.
70
22-23.
.Oct.
9
1922.
184
27-28.
.Nov.
22
1927.
119
22-23.
.Nov.
7
1922.
648
58-59.
.Mar.
11
1959.
530
62-63.
.Apr.
17
1963.
94
75-76.
.May
6
1976.
40
29-30.
.Feb.
3
1930.
114
63-64.
.Sept.
23
1963.
110
51-52.
.Oct.
3
1951.
199
58-59.
.Jan.
30
1959.
43
31-32.
.Nov.
16
1931.
264
60-61.
.Jan.
9
1961.
240
74-75.
.Jan.
20
1975.
400
72-73.
Dec.
5
1972.
400
26-27.
.Jan.
31
1927.
392
38-39.
.Nov.
24
1938.
131
09-19.
.Feb.
10
1913.
160
57-58.
.Nov.
20
1957.
189
50-51.
.Feb.
3
1951.
306
67-68.
.Oct.
16
1967.
420
75-76.
Dec.
7
1975.
76
27-28.
Dec.
28
1927.
345
65-66.
.Oct.
26
1965.
261
45-46.
.Nov.
10,
1945.
81
75-76.
.May
18,
1976.
191
36-37.
.Oct.
6,
1936.
63
74-75.
.Mar.
13,
1975.
1,453
26-27.
.Jan.
26,
1927.
310
71-72.
.Nov.
30,
1971.
28
67-68.
.Oct.
10,
1967.
692
THE BEST PLAYS, 1894-1982
491
PLAY VOLUME OPENED PERFS
Sea Horse, The— Edward J. Moore (James Irwin) 73-74. .Apr. 15, 1974.
Searching Wind, The — Lillian Hellman 43-44. .Apr. 12, 1944.
Seascape— Edward Albee 74-75. .Jan. 26, 1975.
Season in the Sun— Wolcott Gibbs 50-51. .Sept. 28, 1950.
Second Threshold— Philip Barry 50-51. .Jan. 2, 1951.
Secret Service— William Gillette 94-99. .Oct. 5, 1896.
Separate Tables — Terence Rattigan 56-57. .Oct. 25, 1956.
Serenading Louie — Lanford Wilson 75-76. .May 2, 1976.
Serpent, The— Jean-Claude van Itallie 69-70. .May 29, 1970.
Seven Keys to Baldpate — (ad) George M. Cohan, from the
novel by Earl Derr Biggers 09-19. .Sept. 22, 1913.
1776 — (b) Peter Stone, (m, 1) Sherman Edwards, based on a
conception of Sherman Edwards 68-69. .Mar. 16, 1969.
Shadow and Substance — Paul Vincent Carroll 37-38. .Jan. 26, 1938.
Shadow Box, The— Michael Cristofer 76-77. .Mar. 31, 1977.
Shadow of Heroes — (see Stone and Star)
She Loves Me — (b) Joe Masteroff, based on Miklos Laszlo's
play Parfumerie, (1) Sheldon Hamick, (m) Jerry Bock 62-63. .Apr. 23, 1963.
Shining Hour, The— Keith Winter 33-34. .Feb. 13, 1934.
Short Eyes— Miguel Piiiero 73-74. .Feb. 28, 1974.
Show-Off, The— George Kelly 23-24. .Feb. 5, 1924.
Shrike, The— Joseph Kramm 51-52. .Jan. 15, 1952.
Silver Cord, The— Sidney Howard 26-27. .Dec. 20, 1926.
Silver Whistle, The— Robert E. McEnroe 48^9. .Nov. 24, 1948.
Six Cylinder Love— William Anthony McGuire 21-22. .Aug. 25, 1921.
6 Rms Riv Vu— Bob Randall 72-73. .Oct. 17, 1972.
Skin Game, The— John Galsworthy 20-21. .Oct. 20, 1920.
Skin of Our Teeth, The— Thornton Wilder 42-43. .Nov. 18, 1942.
Skipper Next to God — Jan de Hartog 47-48. .Jan. 4, 1948.
Skylark— Samson Raphaelson 39-40. .Oct. 11, 1939.
Sleuth— Anthony Shaffer 70-71. .Nov. 12, 1970.
Slow Dance on the Killing Ground — William Hanley . . . 64-65. .Nov. 30, 1964.
Sly Fox — Larry Gelbart, based on Volpone by Ben Jonson. . . . 76-77. .Dec. 14, 1976.
Small Craft Warnings— Tennessee Williams 71-72. .Apr. 2, 1972.
Soldier's Play, A— Charles Fuller 81-82. .Nov. 20, 1981.
Soldier's Wife— Rose Franken 44-45. .Oct. 4, 1944.
Squaw Man, The— Edwin Milton Royle 99-09. .Oct. 23, 1905.
Stage Door— George S. Kaufman, Edna Ferber 36-37. .Oct. 22, 1936.
Staircase— Charles Dyer 67-68. .Jan. 10, 1968.
Star-Wagon, The— Maxwell Anderson 37-38. .Sept. 29, 1937.
State of the Union— Howard Lindsay, Russel Crouse 45-46. .Nov. 14, 1945.
Steambath— Bruce Jay Friedman 70-71. .June 30, 1970.
Sticks and Bones— David Rabe 71-72. .Nov. 7, 1971.
Stone and Star — Robert Ardrey (also called Shadow of
Heroes) 61-62. .Dec. 5, 1961.
Stop the World — I Want to Get Off — (b, 1, m) Leslie
Bricusse, Anthony Newley 62-63. .Oct. 3, 1962.
Storm Operation— Maxwell Anderson 43-44. .Jan. 11, 1944.
Story of Mary Surratt, The— John Patrick 46-47 .Feb. 8, 1947.
Strange Interlude— Eugene O'Neill 27-28. .Jan. 30, 1928.
Streamers — David Rabe 75-76. .Apr. 21, 1976.
Street Scene— Elmer Rice 28-29. .Jan. 10, 1929.
Streetcar Named Desire, A— Tennessee Williams 47-48. .Dec. 3, 1947.
Strictly Dishonorable— Preston Sturges 29-30. .Sept. 18, 1929.
Subject Was Roses, The— Frank D. Gilroy 64-65. .May 25, 1964.
128
318
65
367
126
176
332
33
3
320
1,217
274
315
301
121
156
571
161
112
219
430
247
176
359
93
256
1,222
88
495
192
468
253
222
169
61
223
765
128
367
20
555
23
11
426
478
601
855
557
832
492
THE BEST PLAYS OF 1982-1983
PLAY
Sugar Babies — (ad) Ralph G. Allen from traditional material
(special citation)
Summer of the 17th Doll — Ray Lawler
Sunrise at Campobello — Dore Schary
Sunshine Boys, The — Neil Simon
Sun-Up — Lula Vollmer
Susan and God — Rachel Crothers
Swan, The — Ferenc Molnar, (tr) Melville Baker
Sweeney Todd, the Demon Barber of Fleet Street — (b)
Hugh Wheeler, (m,l) Stephen Sondheim, based on a version
of Sweeney Todd by Christopher Bond
Sweet Bird of Youth — Tennessee Williams
Table Manners — Alan Ayckbourn
Table Settings — James Lapine
Take A Giant Step — Louis Peterson
Taking of Miss Janie, The — Ed Bullins
Talley's Folly — Lanford Wilson
Tarnish — Gilbert Emery
Taste of Honey, A — Shelagh Delaney
Tchin-Tchin — Sidney Michaels, based on Francois Billetdoux's
play
Tea and Sympathy — Robert Anderson
Teahouse of the August Moon, The — John Patrick, based
on Vem Sneider's novel
Tenth Man, The — Paddy Chayefsky
That Championship Season — Jason Miller
There Shall Be No Night — Robert E. Sherwood
They Knew What They Wanted — Sidney Howard
They Shall Not Die — John Wexley
Thousand Clowns, A — Herb Gardner
Threepenny Opera — (b, 1) Bertolt Brecht, (m) Kurt Weill,
(tr) Ralph Manheim, John Willett
Thurber Carnival, A — James Thurber
Tiger at the Gates — Jean Giraudoux's La Guerre de Troie
n'aura pas lieu, (tr) Christopher Fry
Time of the Cuckoo, The — Arthur Laurents
Time of Your Life, The — William Saroyan
Time Remembered — Jean Anouilh's Leocadia, (ad) Patricia
Moyes
Tiny Alice — Edward Albee
Toilet, The — LeRoi Jones
Tomorrow and Tomorrow — Philip Barry
Tomorrow the World — James Gow, Arnaud d'Usseau
♦Torch Song Trilogy — Harvey Fierstein (The International
Stud, Fugue in a Nursery and Widows and Children First) . . .
Touch of the Poet, A — Eugene O'Neill
TovARiCH — Jacques Deval, (tr) Robert E. Sherwood
Toys in the Attic — Lillian Hellman
Translations — Brian Friel
Travesties — Tom Stoppard
Trelawny of the "Wells" — Arthur Wing Pinero
Trial of the Catonsville Nine, The — Daniel Berrigan,
Saul Levitt
Tribute — Bernard Slade
Two Blind Mice — Samuel Spewack
VOLUME OPENED PERFS
79-80.
Oct.
8,
1979.
1,208
57-58.
.Jan.
22,
1958.
29
57-58.
.Jan.
30,
1958.
556
72-73.
.Dec.
20,
1972.
538
22-23.
.May
25,
1923.
356
37-38.
.Oct.
7.
1937.
288
23-24.
.Oct.
23,
1923.
255
78-79.
.Mar.
1,
1979.
557
58-59.
.Mar.
10,
1959.
375
75-76.
Dec.
7,
1976.
76
79-80.
.Jan.
14,
1980.
264
53-54.
.Sept.
24,
1953.
76
74-75.
.May
4,
1975.
42
79-80.
.May
1,
1979.
321
23-24.
.Oct.
1,
1923.
248
60-61.
.Oct.
4,
1960.
376
62-63.
.Oct.
25,
1962.
222
53-54.
.Sept.
30,
1953.
712
53-54.
Oct.
15,
1953.
1,027
59-60.
.Nov.
5,
1959.
623
71-72.
.May
2,
1972.
844
39-^.
.Apr.
29,
1940.
181
24-25.
.Nov.
24,
1924.
414
33-34.
.Feb.
21,
1934.
62
61-62.
.Apr.
5,
1962.
428
75-76.
.Mar.
1,
1976.
307
59-60.
.Feb.
26,
1960.
127
55-56.
.Oct.
3,
1955.
217
52-53.
Oct.
15,
1952.
263
39^W.
.Oct.
25,
1939.
185
57-58.
.Nov.
12,
1957.
248
64-65.
Dec.
29,
1964.
167
64-65.
Dec.
16,
1964.
151
30-3 L
.Jan.
13,
1931.
206
42^3.
.Apr.
14,
1943.
500
81-82.
.Jan.
15,
1982. .
525
58-59.
.Oct.
2,
1958. .
284
36-37.
Oct.
15,
1936. .
356
59-60.
.Feb.
25,
1960. .
556
80-81.
.Apr.
7,
1981. .
48
75-76.
Oct.
30,
1975. .
155
94-99.
.Nov.
22,
1898. .
131
70-71.
.Feb.
7,
1971. .
159
77-78.
.June
1,
1978. .
212
48-49.
.Mar.
2,
1949. .
157
I
PLAY
THE BEST PLAYS, 1894-1982 493
VOLUME OPENED PERFS
Unchastened Woman, The — Louis Kaufman Anspacher.
Uncle Harry — Thomas Job
Under Milk Wood — Dylan Thomas
Valley Forge — Maxwell Anderson
Venus Observed — Christopher Fry
Very Special Baby, A — Robert Alan Aurthur
Victoria Regina — Laurence Housman
View From the Bridge, A — Arthur Miller
Visit, The — Friedrich Duerrenmatt, (ad) Maurice Valency
Visit to a Small Planet — Gore Vidal
Vivat! Vivat Regina! — Robert Bolt
Voice of the Turtle, The — John van Druten
Wager, The— Mark Medoff
Waiting for Godot — Samuel Beckett
Waltz of the Toreadors, The — Jean Anouilh, (tr)
Lucienne Hill
Watch on the Rhine — Lillian Hellman
We, the People — Elmer Rice
Wedding Bells — Salisbury Field
Wednesday's Child — Leopold Atlas
What a Life — Clifford Goldsmith
What Price Glory? — Maxwell Anderson, Laurence Stallings.
What the Butler Saw — Joe Orton
When You Comin' Back, Red Ryder? — Mark Medoff.
Where Has Tommy Flowers Gone? — Terrence McNally . . .
White House Murder Case, The — Jules Feiffer
White Steed, The — Paul Vincent Carroll
Who's Afraid of Virginia Woolf? — Edward Albee
Whose Life Is It Anyway? — Brian Clark
Why Marry? — Jesse Lynch Williams
Why Not?— Jesse Lynch Williams
Witching Hour, The — Augustus Thomas
Wild Birds — Dan Totheroh
Winged Victory— Moss Hart, (m) David Rose
Wings — Arthur L. Kopit
Wings Over Europe — Robert Nichols, Maurice Browne
WiNSLOW Boy, The— Terence Rattigan
WiNTERSET — Maxwell Anderson
Winter Soldiers — Daniel Lewis James
Wisdom Tooth, The — Marc Connelly
Wisteria Trees, The — Joshua Logan, based on Anton
Chekhov's The Cherry Orchard
Witness for the Prosecution— Agatha Christie
Women, The— Clare Boothe
Wonderful Town — (b) Joseph Fields, Jerome Chodorov,
based on their play My Sister Eileen and Ruth McKenney's
stories, (1) Betty Comden, Adolph Green, (m) Leonard
Bernstein
World We Make, The— Sidney Kingsley, based on Millen
Brand's novel The Outward Room
09-19.
Oct.
9,
1915.
193
41^2.
.May
20,
1942.
430
57-58.
Oct.
15,
1957.
39
34-35.
Dec.
10,
1934.
58
51-52.
.Feb.
13,
1952.
86
56-57.
.Nov.
14,
1956.
5
35-36.
Dec.
26,
1935.
517
55-56.
.Sept.
29
1955.
149
57-58.
.May
5
1958.
189
56-57.
.Feb.
7,
1957.
388
71-72.
Jan.
20
1972.
116
43^W.
Dec.
8
1943.
1,557
74-75.
Oct.
21
1974.
104
55-56.
.Apr.
19
1956.
59
56-57.
.Jan.
17
1957.
132
40-^1.
.Apr.
1
1941.
378
32-33.
.Jan.
21
1933.
49
19-20.
.Nov.
12
1919.
168
33-34.
.Jan.
16
1934.
56
37-38.
.Apr.
13
1938.
538
24-25.
.Sept.
3
1924.
433
69-70.
.May
4
1970.
224
73-74.
Dec.
6
1974.
302
71-72.
.Oct.
7
1972.
78
69-70.
.Feb.
18
1970.
119
38-39.
.Jan.
10
1939.
136
62-63.
Oct.
13
1962.
664
78-79.
.Apr.
17
1979.
223
09-19.
Dec.
25
1917.
120
22-23.
Dec.
25
1922.
120
99-09.
.Nov.
18
1907.
212
24-25.
.Apr.
9
1925.
44
43-44.
.Nov.
20
1943.
212
78-79.
.Jan.
28
1979.
113
28-29.
Dec.
10
1928.
90
47^8.
Oct.
29
1947.
215
35-36.
.Sept.
25
1935.
195
42^3.
.Nov.
29
1942.
25
25-26.
.Feb.
15
1926.
160
49-50.
.Mar.
29
1950.
165
54-55.
Dec.
16
1954.
645
36-37.
Dec.
26
1936.
657
Years Ago — Ruth Gordon
Yes, My Darling Daughter— Mark Reed.
You and I— Philip Barry
52-53. .Feb. 25, 1953. . 559
39-40. .Nov. 20, 1939. . 80
46-^7. .Dec. 3. 1946. . 206
36-37. .Feb. 9, 1937. . 405
22-23. .Feb. 19. 1923. . 178
494 THE BEST PLAYS OF 1982-1983
PLAY VOLUME OPENED PERFS
You Can't Take It With You — Moss Hart, George S.
Kaufman 36-37. .Dec. 14, 1936. . 837
You Know I Can't Hear You When the Water's
Running— Robert Anderson 66-67. .Mar. 13, 1967. . 755
Young Woodley— John van Druten 25-26. .Nov. 2, 1925. . 260
Youngest, The— Philip Barry 24-25. .Dec. 22, 1924. . 104
Your Own Thing — (b) Donald Driver, (m, 1) Hal Hester and
Danny Apolinar, suggested by William Shakespeare's Twelfth
Night 67-68. .Jan. 13, 1968. . 933
You're a Good Man Charlie Brown — (b, m, 1) Clark
Gesner, based on the comic strip "Peanuts" by Charles M.
Schulz 66-67. .Mar. 7, 1967. . 1,597
ZooMAN AND THE Sign— Charles Fuller 80-81. .Dec. 7,1980.. 33
INDEX
INDEX
Play titles appear in bold face. Boldface italic page numbers refer to those pages where complete cast and credit
listing for New York productions may be found.
A/K/A Tennessee, 31, 384
Aaron, Jack, 431
Aaron, Joyce, 382, 416, 428
Aaron, Jules, 66, 82
Abady, Josephine, 77
Abajian, Chris, 421
Abajian, John, 93, 113
Abbott, Charles, 72, 86, 111,
414
Abbott, George, 7, 22, 32, 40,
76, 352, 414, 466
Abbott, Jack Henry, 63, 103
Abbott, Loretta, 357
ABC, 7
ABC Video Enterprises, Inc.,
358, 463
Abel, Barbara, 381
Abels, Gregory, 116
Abercrombie, Ian, 428
Abercrombie Apocalypse,
25, 29, 372
Aberdeen, Robert, 392
Abernethy, Richard, 116
About Face, 98, 418
About Heaven and Earth, 25,
28, 402
Abrahamson, Manford, 104
Abrams, Anne S., 140, 340,
349, 353, 362, 405, 409
Abrams, Lisa Ellen, 73
Abrash, Victoria, 427
Abrezzi, Steven D., 413
Absurd Person Singular, 75
Abuba, Ernest, 423, 464
Accidental Death of an Anar-
chist, 89
Accolas, Claude, 118
Acetta, Linda, 72
Achen, Tena, 74
Ackerman, Loni, 442
Ackerman, Paul, 72
Ackerman, Robert Allan, 7,
12, 22, 26, 353, 401, 466
Ackroyd, David, 89
Acting Company, The, 37,
375, 405, 406, 408, 409
Actman, John, 357
Actors, Lovers and Fools,
108
Actors, The, 434
Actors & Directors Theater,
379
Actors and Actresses, 1 1 1
Actors' Equity Association,
39, 414
Actors Institute, 371
Actor's Nightmare, The, 369
Actors Repertory Theater,
429
Actors Theater of Louisville,
27, 65, 66, 67, 90, 92, 353,
379, 380, 402, 403, 406
Actors Theater of St. Paul,
106
Adam, 420
Adamov, Katherine, 417
Adams, Abigail, 370
Adams, Ann, 102
Adams, Betsy, 428
Adams, Brooke, 97
Adams, Donna, 77
Adams, John, 370
Adams, Joseph, 349
Adams, Wayne, 387, 388
Adamson, David, 414
Adamson, Eve, 431
Addinsell, Richard, 347
Addison, John, 383
Addy, Wesley, 31, 370
Adedunyo, Obaka, 420
Adelman, Louis C, 431
Adler, Alisa, 333
Adler, Christopher, 344
Adler, Jay, 392
Adler, Jerry, 333
Adler, Michael, 385
Adler, Steven, 364, 370
Adshead, Patricia, 384
Adzuma, Nanzi, 113
Afemo, 417
After Maigret, 425
After You've Gone, 429
Agar, Sam, 371
Agelet, Jesus, 416
Agnes of God, 330, 435
Aguilar, Tommy, 440
Ah, Wilderness!, 70, 105
Ahlert, Richard, 420
Aibel, Douglas, 413
Aidem, Betsy, 429
Aiello, Danny, 80
Aiello, Grace, 105
Aiken, Lizza, 421
Ain't Misbehavin', 69
Akers, Karen, 446
Akinloye, Adetobi, 420
Aladdin and the Magic
Lamp, 110
Alan, William, 405
Alaska Repertory Theater, 69
Albano, John, 427
Albee, Edward, 4, 7, 17, 76,
84, 87, 100, 102, 356
Albergo, Mina, 428
Albers, Catherine, 79
Albers, Kenneth, 93, 94
Albert, Arthur, 403
Aldredge, Theoni V., 7, 89,
337, 346, 351, 362, 390,
391
Aldredge, Tom, 111, 386
Aldrich, Rhonda, 82
Aldridge, Kim, 425
495
496
INDEX
Alessandrini, Gerard, 369,
370, 444
Alex, Marilyn, 414
Alexander, Jace, 336
Alexander, Jane, 8, 17, 345
Alexander, Len, 87
Alexander, Neil, 415
Alexander, Rod, 70
Alexander, Roslyn, 105
Alexander, Terry, 415
Alexander, Wayne, 81
Alexander- Willis, Hope, 74
Alexandriad: The Early
Years, 431
Alexis, Alvin, 419
Alice, Mary, 95, 413, 428
Alice in Wonderland, 7, 22,
34, 67, 347, 371, 463, 465
All in Favour Said No!, 81
All My Sons, 98
All of the Above, 432
Allam, Roger, 359
Allen, Billie, 411
Allen, Chuck, 419
Allen, Clint, 92
Allen, Elizabeth, 444
Allen, Jay Presson, 4, 17, 88,
346
Allen, Karen, 17, 345, 402,
465
Allen, Lewis, 361
Allen, Lynne Clifton, 112
Allen, Penelope, 380
Allen, Peter, 71
Allen, Ralph, 330, 337
Allen, Raymond, 82, 397,
398, 399
Allen, Richard, 113
Allen, Robert Byron, 95
Allen, Ross, 115
Allen, Ryan, 397, 399
Allen, Seth, 77, 94, 391
Allen, Timothy, 357
Alliance Theater Company,
71, 72
Allin, Jeff, 348
AUinson, Michael, 112
Allison, Don, 117
Allison, Jack, 101
Allison, Karl, 355, 388
Allison, Michael, 89
AUmon, Clinton, 336
All's Well That Ends Well, 3,
6, 7, 34, 67, 115, 358-359,
462, 463, 466
Almada, Carlos, 415
Almost an Eagle, 18, 67, 347
Alms for the Middle Class,
100, 105
Alper, Jonathan, 380
Alpert, Michael, 348
Alpert/Levine, 333
Alsop, Marin, 354
Altay, Derin, 442
Altman, Peter, 74
Altok, Krista M., 394
Alvarado, Trini, 419
Alvarez, Lynne, 419
Alvarez-Calderon, Alfredo,
80
Amacker, Jonathan, 422
Amadeus, 41, 330, 435
Amas Repertory Theater,
411
Amendola, Tony, 73, 74
Amendolia, Don, 441
Amends, 101
America Kicks Up Its Heels,
376
American Beauty, 102
American Bufifalo, 369
American College Theater
Festival, 466
American Conservatory The-
ater, 109
American Dream, The, 87
American Jewish Theater,
429
American Mysteries, The,
417
American Place Theater, 29,
369, 376, 391, 392, 405,
408, 412
American Princess, 431
American Repertory Thea-
ter, 76, 348, 355
American Shakespeare Festi-
val, 112
American Theater Critics As-
sociation (ATCA), viii, 27,
45, 46, 60, 380
Americans, or Last Tango in
Huahuatenango, 44, 433
Ames, Kenneth, 333
Ametrano, Stephen, 375
Amick, Tom, 422
Anastos, Peter, 87
Anderman, Maureen, 355
Andersen, Hans Christian, 72
Anderson, Douglas, 113
Anderson, Elman, 358
Anderson, Eric, 419
Anderson, Eunice, 98
Anderson, Frank, 424
Anderson, George, 85, 86, 87
Anderson, Leslie, 385, 388
Anderson, Leta, 443
Anderson, Lindsay, 35, 383
Anderson, Myra, 420
Anderson, Nels, 85
Anderson, Robert, 97
Anderson, Stanley, 114, 115
Anderson Jr., Thomas C,
400
Andreas, Christine, 352, 431,
462
Andrea's Got Two Boy-
Friends, 44, 417
Andrei, Damir, 118
Andrews, Bert, vii
Andrews, George Lee, 350,
443
Andrews, William H., 391
Androsky, Carol, 355
Andrulot, Joyce, 72
Angel and Dragon, 82
Angel Street, 107
Angels Fall, 3,4, 6, 7, 9, 16,
22,25,27,31,67,349,386,
458, 459, 460, 462, 465
Angermann, Christian, 97, 98
Angwall, Merlaine, 84
Anna Into Nightlight, 44,
417
Anna Laub, 428
Annals, Michael, 367
Annie, 329, 436, 437
Another Country, 95
Another Part of the Forest,
71
Anouilh, Jean, 370
ANTA, 352
Anthem Company, 385
Anthem for Doomed Youth,
31, 385
Anthony, Eugene J., 352
Anthony, Ralph, 431
Anthony and Cleopatra, 88
Antigone, 369
Antoinette Perry (Tony)
Awards, 461, 464
Anzell, Hy, 376, 377, 446
APA, 356
Apartment, The, 414
Appear and Show Cause, 79
Appelt, Joseph, 88, 109
Apple Cart, The, 117
Appleton, Ben, 103
Apres Midi, 424
April Snow, 82, 419
Arabian Nights, 90
INDEX
497
Arakawa, Tetsuo, 94
Arana, Tomas, 418
Aranas, Raul, 113, 423
Aranha, Ray, 29, 79, 402
Aranson, Jack, 74, 88
Arbeit, Herman O., 431
Arbolino, Richard, 336
Arcenas, Loy, 426
Arch-Carter, John, 431
Archer, Julie, 421
Archibald, William, 88
Ard, Kenneth, 340
Arena Stage, 114, 115, 355
Argent, Vivienne, 359
Argo, Victor, 72
Ariosa, David, 79
Aristophanes, 431
Aristotle Said, 419
Arizona Theater Company,
113
Ark Theater, 430
Arkansaw Bear, The, 79
Arlen, Harold, 77
Arlt, Lewis, 85
Armagnac, Gary, 409
Armen, Rebecca, 347
Arment, Gwen, 431
Armistead, Diane, 338
Arms and the Man, 101, 119
Armstrong, William, 87, 95.
99, 105, 402, 425
Arndt, Denis, 69, 70, 71, 111
Arnell, Patricia, 92
Arnemann, James M., 344
Arnold, Barry, 79, 383, 404
Arnold, Dori, 78
Arnold, Jeanne, 105
Arnold, John Sterling, 105
Arnold, Kenneth, 65, 66, 81,
82
Arnone, John, 115, 371, 387,
392
Aronson, Daniel, 397
Aronson, Frances, 115, 371,
375, 376, 392, 404, 425
Aronstein, Martin, 89, 337,
348, 367
Arrabal, Fernando, 42, 423
Arrambide, Mario, 428
Arrick, Larry, 100
Arrick, Rose, 349
Arrington, Timothy, 86
Art of Ruth Draper, The, 369,
427
Art of Self-Defense, The, 9 1
Artery, 44
Arthur, Helen Jean, 382, 419
Arthur Cantor Associates,
347
As You Like It, 80
Asaf, George, 329
Asbury, Anthony, 377, 446
Ashens, Robert, 80
Asher, David, 350
Ashley, Elizabeth, 435
Ashley, Mary Ellen, 111,371
Ashman, Howard, 4, 7, 30,
376, 377, 458, 466
Ashton, Colleen, 364
Ashton, Kerry, 428
Asia Society, 430
Asian American Theater
Company, 67
Asian Shade, 42, 73, 429
Askins, Sally, 84
Asoff, Harl, 83
Asolo State Theater Com-
pany, 109
Asquith, Ward, 414, 426
Assad, James, 88
Assante, Denise, 422
Astapovo, 97
Aston, Mary-Anne, 80, 105,
399
Astredo, Humbert, 103, 366
Aswegan, Jared, 95, 114
At This Evening's Perform-
ance, 102
ATCA (see American Thea-
ter Critics Association)
Atherton, William, 336
Atkins, Samantha, 375
Atkins, Tom, 95
Atlas, Larry, 360
Atlee, Barbara, 402
Atlee, Howard, 371, 372, 402
Auberjonois, Rene, 89
August 6, 1945, 90
Austin, Elizabeth, 371
Austin, Shaun, 1 1 1
Authentic Life of Billy the
Kid, The, 74
Autoerotic Misadventure,
424-425
Avery, Mark, vii
Averyt, Bennet, 69, 105, 413
Aviles, Marge, 415
Avni, Ran, 431
Avrizabalaga, J.M.. 416
Awol, 115
Axelrod, Cathleen, 433
Ayckbourn, Alan, 75, 79, 86,
111
Ayers, Vanessa, 360
Ayers-Allen, Phylicia, 402
Ayler, Ethel, 402
Aylward, John, 110, 118
Ayr, Michael, 386, 413
Ayrton, Norman, 372
Ayvazian, Leslie, 427
Azenberg, Emanuel, 354
Azito, Tony, 89, 447
Aznavour, 67, 354
Aznavour, Charles, 21, 354
Babad, Herman, 434
Babatunde, Obba, 441
Babb, Roger, 382, 417
Babcock, Dennis A., 100
Babe, Thomas, 23, 29, 388
Babes in Toyland, 399
Babilla, Assurbanipal, 417
Baby With the Bathwater,
76
Bach, Del-Bouree, 432
Bach, Johann Sebastian, 329
Bacharach, Burt, 414
Bachmann, Hand, 114
Bacigalupi, Dennis, 85, 433
Back to Back, 429
Backer, Andy, 91, 92
Backer, Brian, 80
Backus, Richard, 109, 437
Bacon, Kevin, 353, 419
Badarou, Dean, 421
Baddeley, Hermione, 348
Badillo, Robert, 413
Badolato, Dean, 352
Baer, Marian, 101
Bag Lady, 380-382
Bagneris, Vernel, 369
Bagnold, Enid, 109, 369
Bagwell, Marsha, 447
Bahati, Amirh, 434
Bahler, Tom, 358
Bahr, Constance, 428
Bailey, Adrian, 361
Bailey, Bernard, 361
Bailey, Dennis, 371
Bailey, Larry G., 438
Bailey, Obie, 361
Bailey, Robin, 437
Bailey, Sonia, 41 1
Baines, Howard, 402
Baines, Shirley, 357
Baker, Blanche, 370, 387
Baker, Dylan, 98
Baker, Earl L., 357
Baker, Georgia, 69
Baker, Gregg, 357
Baker, Kathy, 387
498
INDEX
Baker, Margaret, 428
Baker, Paul, 82
Baker, Raymond, 89
Baker, Rita, 332
Baker, Word, 379
Bakula, Scott, 404
Balaban, Bob, 381
Balanchine, George, 32, 352
Baldassare, Jim, 393
Baldwin, Brooks, 71
Baldwin, Doug, 418
Baldwin, E. Eugene, 432
Ball, Warren, 336
Ball, William, 109
Ballad of Soapy Smith, The,
111
Ballantyne, Paul, 113
Ballantyne, Wayne, 69, 70,
71
Ballard, Kaye, 447
Ballard, Laurence, 93, 94
Balloon, 25, 30, 393-395
Ballou, Mark, 414
Balou', Buddy, 438, 440
Balzaminov's Wedding, 428
BAM Theater Company, 381
Bamford, George, 381
Bamman, Gerry, 94, 100
Banana Dancer, The, 428
Banbury, Frith, 80
Bancroft, Anne, 35
Bandier, Martin, 342
Banes, Lisa, 97, 381
Bank, Yudie, 98
Bansavage, Lisa, 414
Bantry, Bryan, 355, 388
Baptiste, Nicole, 415
Baraka, Amiri, 416
Baranski, Christine, 101, 374,
464
Barbeau, Francois, 118
Barber, Ellen, 413
Barber, Tim, 104
Barcelo, Randy, 69, 375
Barclay, Anne, 416
Barclay, William, 105
Barcone, Eugene, 109
Barcroft, Judith, 440
Barder, Anna, 416
Barilla, John, 427
Barillet, Pierre, 17, 88, 346
Barker, Christine, 437
Barker, Jean, 403, 419
Barker, Margaret, 381
Barker, Robert, 397, 398, 399
Barkett, Beege, 434
Barkin, Ellen, 401, 402
Barkla, Jack, 95, 114
Barnes, Bob, 342
Barnes, C. B., 85
Barnes, Chris, 432
Barnes, Clive, 41, 234, 458,
459, 461, 465
Barnes, Fran, 428
Barnes, Frances, 431
Barnes, Lisa, 429
Barnes, Paul, 71
Barnes, Peter, 98
Barnes, Susan, 82
Barnes, Tom, 411
Barnes, Willie, 421
Barnett, Bob, 85, 87, 105
Barnett, Cynthia, 68, 100
Barnicle, Andrew, 426
Barnum, H.B., 338
Barnum's Last Life, 417
Baron, Evalyn, 100
Baron, Geraldine, 345
Baron, Holly, 75
Baron, Meyer, 402
Barone, Joe, 377
Barr, Norman, 103
Barr, Richard, 39, 466
Barreca, Christopher H., 98
Barrett, Brent, 364, 377, 420
Barrett, John, 92
Barrett, Michael, 408, 409
Barrett, Sondra, 80
Barrett, Walter, 75
Barricelli, Marco, 92
Barrie, Barbara, 332
Barrie, J.M., 369
Barringer, Barbara, 105
Barron, Bob, 98
Barron, David, 88
Barry, B.H., 349, 390, 393,
401
Barry, Ellen, 92, 93
Barry, Marry, 86
Barry, Neil, 347
Barry, Paul, 92, 93
Barry, Philip, 95
Barry, P.J., 84
Barry, Raymond, 391
Barry Grove, 380
Barsha, Tony, 426
Bart Stuyf Movement Group
of the Netherlands, 417
Bartelt, Bill, 392
Bartenieff, Alex, 427
Bartenieff, George, 416, 427
Barter Theater, 68, 69
Bartlett, D'Jamin, 95
Bartlett, Robin, 434
Bartok as Dog, 92
Barton, Daniel, 419
Barton, Fred, 369, 444
Barton, John, 110
Bartz, James, 371
Basa, Eniko Molnar, 114
Baseball Wives, 25, 29, 385
Baseleon, Michael, 349
Baskerville, Priscilla, 357,
448
Bass, George, 423
Bass, Randy, 80
Bassett, Angela, 116
Bassett, Linda, 391
Bassett, Steve, 371
Bassey, Jennifer, 399
Bateman, Lane, 80
Bates, Alan, 231
Bates, Jeanne, 333
Bates, Jeff, 412
Bates, Kathy, 8, 15, 21, 22,
76, 116, 355, 462, 466
Bates, Paul, 374
Bathers, The, 419
Batiste, Gina, 431
Battis, Emery, 69, 72, 73
Battle, Ed, 360
Battle, Hinton, 448
Battles, Emerson, 357
Bauch, Ethan, 359
Bauduc, Ray, 329
Bauer, Richard, 114, 115
Baughan, Terry, 429
Baughman, Renee, 437
Baum, Harry, 421
Baum, L. Frank, 77, 84, 117
Baum, Susan J., 429
Bavar, Michael, 362
Bavar/ Culver Productions,
362
Baxley, Barbara, 348, 413
Baxter, Anne, 1 12
Baxter, Cash, 431
Baxter, Charles, 103
Bayer, Elizabeth, 385
Bazemore, Raymond H., 357
Beach, Bonita, 372
Beach, Gary, 404, 436
Beachner, Louis, 365
Beadle, Gary, 410
Beals, Frederick, 420
Bean, Orson, 31, 400
Beard, Jim, 1 15
Beard, Robert, 118
Beardsley, Christopher, 111
Beary, Shaun, 355
Beatty, Charles, 69
i
INDEX
499
Beatty, John Lee, 7, 35, 89,
346,347,349,365.386,404
Beatty, Ned, 89
Beatty, Talley, 338
Beaty, Kim, 103, 387
Beauchamp, Geoflfrey, 88
Beaufort, John, 458, 459
Beaumarchais, 94
Beavers, Virgil, 84
Beck, Joanna, 360
Beck, Lisa, 376
Beckel, Graham, 72
Becker, Alma, 419
Beckerman, Mara, 378
Beckett, Elton, 432
Beckett, Michael, 431
Beckett, Samuel, 37, 43, 76,
77, 370, 405, 421
Beckler, Steven, 347, 355
Beck-Meyer, Richard, 424
Beckwith, Kathryn, 426
Bedard, Dan, 103
Bedford, Brian, 34, 119, 336
Bedford, Suzanne, 429
Bedford-Lloyd, John, 420,
429
Beechman, Laurie, 446
Beecroft, Jeffrey, 105
Beener, Elaine, 421
Bees, The, 414
Before She Is Even Born,
427
Behind a Mask, 428
Behind A Mask, The Un-
known Thrillers Of Louisa
May Alcott, 428
Behren, Richard, 426
Belair, Mark, 359
Belanger, Michael, 425
Belasco, David, 110
Belcher, James, 86
Belden, Ursula, 100
Belgrader, Andrei, 76, 98
Belknap, Allen R., 432
Bell, Barbara A., 77
Bell, David H., 371,466,467
Bell, Glynis, 86
Bell, Jay, 105, 107
Bell, Ralph. 366
Bell, Willis, 89
Bellas, Alex, 431
Belle of Amherst, The, 1 1 7
Belli, Keith, 87
Bellomo, Joe, 442
Bellows, Gayle, 69, 70
Bellucci, John, 337
Belshaw, Diana. 118
Belushi, James, 447
Belvue Ensemble, 424
Bemis, Cliff, 79
Benben, Brian, 353
Benedetti, Robert, 70
Benedict, Paul, 95, 418
Benet, Stephen Vincent, 333
Benezra, Sonia, 1 18
Bening, Annette, 109
Benjamin, P.J., 448
Benmussa, Simone, 27, 371
Bennett, Albert S., 430
Bennett, Claire, 432
Bennett, Harry, 414
Bennett, Joe, 439
Bennett, Michael, 329, 387
Bennett, Peter, 101, 370
Bennett, Sid, 101
Bennett-Gordon, Eve, 1 1 1
Benninghofen, Mark, 429
Benoit, Leslie A., 420
Benson, Cindy, 431, 433
Benson, Martin, 81
Benson, Mary, 105
Benson, Robby, 447
Benson-Smith, Gigi, 385
Bentley, Eric, 418
Bentley, Jeffrey, 84
Benton, Robert, 329
Berc, Shelley, 106
Beretta, Joanne, 429
Berezin, Tanya, 16, 349, 386
Berge, Colette, 417, 422
Berger, Keith, 376
Berger, Lauree, 438
Bergeret, Albert, 432
Bergh, Kate, 85
Bergman, Ingamar, 71
Bergman, Peter, 413
Bergman, Sandahl, 438
Berigan, Charles, 409
Berk, Sherie, 391
Berk, Tony, 432
Berkeley Repertory Theater,
73, 74
Berkoff, Steven, 89, 467
Berkowsky, Paul B., 403
Berky, Bob, 44, 465
Berle, Milton. 30, 403
Berlin. Pamela, 414
Berlin Blues, 424
Berlind, Roger S.. 358, 463
Berliner, Ron, 424
Berman, Gail, 347
Berman, Norman L., 349,
386
Berman, Paul. 68. 73
Berman, Susan, 377
Bernardi, James, 357
Bernhard. Arnold. 366
Bernhard. Jim. 86
Bernhardt, Melvin, 89
Bernstein, Douglas, 393
Bernstein, Elmer, 350, 462
Bernstein, Leonard, 114, 117,
431
Bernstein, Sid. 385
Bernstein, Stanley. 385
Beroza. Janet. 341. 359
Berrigan, Daniel, 38
Berry. David. 38
Berry. Gabriel, 415, 417. 427
Berry, Marilyn, 419
Berry, Stephanie R., 432
Bersworth, Rob, 399
Berthelot, Larry, 73
Bertish, Suzanne, 381, 465
Berwind, Stephen, 427
Besch, Jenny Maybrook, 372
Bessette, Denise, 74, 105
Best Little Whorehouse in
Texas, The, 329
BetMar, 331
Betrayal, 81, 467
Betsko, Kathleen, 116
Better Company, The, 404
Betti, Ugo, 34, 334
Betts, D.E., 379
Beven, John, 381
Beverly, Susan, 73
Bewitched, The, 98
Beyond Here Are Monsters,
420
Beyond Therapy, 73, 331
Biancamano, Frank, 113
Bibb, Leon, 409
Bicat, Nick, 348, 390
Bick, Kristine, 100
Bickell, Ross. 68
Bicknell, Arthur. 351
Bicknell, Sharon, 79
Biegler. Gloria, 69, 70
Biel, Nicholas. 420
Bierbower, Neil, 104
Big Apple Circus, The, 465
Bigelow, Dennis, 69, 70, 71
Biggins. Bruce, 397
Biggs. Casey, 113. 408
Bigliardo, Daniele. 418
Bigtree, Sandy. 427
Bihm. Jerry, 352
Billett, Donald. 442
Billie and Her Hillbilly
Barnyard Band, 80
500
INDEX
Billig, Robert, 376, 377
Billings, Earl, 89
Billington, Ken, 331, 339,
344, 358, 400, 463, 465
Billy Bishop Goes to War,
87, 104, 107
Billy Chops Brick, 419
Bimson, Wanda, 374
Bingham, Jeffrey, 414
Binns, Edward, 111, 337
Binotto, Paul, 114
Binus, Judith, 348
Birdbath, 423
Birdfeeder, The, 424
Birds, The, 414, 431
Birdsall, Jim, 88
Birk, Raye, 81, 102
Birnbaum, Steven, 426
Birney, David, 435
Birney, Reed, 91, 425
Birthday Present, The, 386-
387
Bishop,Andre, 375, 391,423,
465
Bishop, Carole, 437
Bishop, Christine, 432
Bishop, Fred, 431
Bishop, Helen Gary, 77
Bishop, Kelly, 437
Bisoglio, Val, 434
Bixby Jr., William, 369
Black, Bonnie, 102
Black, Don, 350, 462
Black, G. David, 80
Black, Lewis, 73, 115
Black, Robert, 78, 102
Black Angel, 25, 27, 385-386
Black Coffee, 79
Black Theater Cooperative,
30, 409
Black-Brown, Shirley, 357
Blackburn, Robert, 85
Black-Eyed Susan, 425
Blackman, Robert, 87, 89, 90,
109, 111
Blackton, Jack, 443
Blackwell, Sam, 429
Blackwood, John, 118
Blair, Pamela, 437
Blair, Tom, 80
Blaisdell, Nesbitt, 80, 382
Blake, Leslie Hoban, 424
Blake, Pamela, 442
Blakemore, Michael, 367
Blakeslee, Suzanne, 431
Blakley, Ronee, 447
Blankenship, Will, 361
Blankman, Diana, 397
Blanko, 87
Blase, Linda, 84
Blasetti, Pamela, 431
Blau, Eric, 409
Blau, Frances, 80
Blaxill, Peter, 110, 431
Blazer, Judith, 443
Blecher, Hilary, 402
Blessing, Lee, 74, 91
Blithe Spirit, 69, 101
Blitzstein, Marc, 37, 82, 408
Bloch, Andrew, 89
Bloch, Scotty, 75
Bloch, Susan, 372, 383
Blommaert, Susan, 414, 432
Blood Moon, 44, 432
Blood Relations, 415
Bloodgood, William, 71, 87
Bloom, Jessica, 427
Bloom, Michael, 426
Blossom, Henry, 399
Blu, 417
Blue, Pete, 370
Bluem, Beverly, 1 13
Blues in the Night, 18. 67,
337. 462
Blum, Mark, 95, 419
Blumenfeld, Richard, 105
Blumenfeld, Robert, 85, 110
Blumenkrantz, Karl, 424
Blumenthal, Eileen, 464
BMP Productions, 365
Boadella, Albert, 416
Boak, Mike, 373, 391
Boardman, Constance, 420
Boccaccio, 78
Bocchino, Chris, 439
Boese, Jody, 365, 386
Boesing, Martha, 102
Bogart, Humphrey, 33
Bogatin, Barbara, 354
Bogert, William, 81
Bogok, Gusti, 385
Bogosian, Eric, 421
Boisvert, Timothy, 72
Bolam, Elsa, 118
Bolt, Jonathan, 1 10, 365, 386,
413
Bolton, Joyce, 397, 398, 399
Boman, Mallie, 424
Bonacki, Lou, 415
Bond, Chris, 359
Bond, Edward, 28, 72, 380
Boni, John, 442
Bonifay, Randy, 82, 84
Bonin, Jane F., 424
Bonk, John J., 399
Boockvor, Steven, 439
Bookman, Kirk, 80
Bookwalter, Martyn, 89
Bookworm, The, 424
Boone, Debby, 333
Booth, 25, 29, 370
Booth, David, 73, 74
Booth, Paul, 372
Boothby, Victoria, 101
Boothe, Powers, 428
Borde-, Marshall, 431, 432
Borden, Noel, 355
Borden, William, 84, 92
Bordon, Marshall, 98
Boretz, Allen, 94
Borge, Rikke, 420
Borkhuis, Charles, 428
Borkowski, Andrzej, 421
Borod, Robert L., 344
Borowitz, Katherine, 106,
385
Bosakowski, Philip, 419
Bosche, Mary Ellen, 424
Bosco, PhiHp, 27, 372, 393,
419
Boseman, Beverley, 87
Boss, Bill, 420
Boston, T.L., 362
Bostwick, Greg, 419
Botsford, Sara, 391, 419
Botti, Susan, 100
Bottom Line, 431
Bottoms, John, 76
Bottrell, David, 75
Boucher, Mary, 418
Boucicault, 38
Boudreau, Robin, 376
Boule, Kathryn, 436
Bourgeois Avant-Garde, The,
465
Bousson, Ron, 81
Boutsikeris, Dennis, 436
Bova, Joseph, 444
Bovasso, Julie, 386
Bove, Linda, 101
Bovell, Brian, 410
Bovinet, Gordon, 338
Bowden. Joyce Leigh, 342
Bowers, Clent, 1 12
Bowles, Anthony, 426
Bowles, Beth, 449
Bowman, Lynn, 74
Bowmer, Angus L., 69
Boy Meets Girl, 81
Boyd, Christopher, 424
Boyd, Gregory, 73
INDEX
501
Boyd, Julianne. 414
Boyd. Julie. 98, 116
Boyden. Peter, 85, 371
Boyer, M.J., 409
Boyette. Kathleen B., 409
Boykin. Nancy. 77
Boyle. Robert Ott, 347
Boylen, Daniel. 102
Boys From Syracuse, The,
76
Boy's Own Story, The, 429
Bozark, Kim. 106
Bozzone. Bill. 413
Bradbury. Stephen C, 100
Braddell. Valerie. 432
Braden. James. 103
Braden. John. 116, 433. 434
Bradford. Alex, 338
Bradford, Don, 68
Bradley. Alfred, 117
Bradley. Bruce, 425
Brady. James Edmund, 77
Brailsford. Pauline. 84, 466
Bramble. Mark. 112. 330
Bramon, Risa. 413
Branca. Glenn, 417
Brand. Gibby. 1 1 1
Brandeis. Irma. 428
Brandon. Michael, 97
Brandon. Peter, 105
Brandt. Alicia, 427
Bransteiter. Madylon, 80
Brantley. Royal. 82
Brasch, Marion. 424
Brasington. Alan. 350. 378
Brass Birds Don't Sing, 1 17
Brasuell. Jonathan Paul, 417,
418
Braun, Patricia. 345
Braverman. Carole. 74
Bread and Puppet Theater.
427
Bread and Salt, 417
Breakfast With Les and
Bess, 17. 67. 365-475
Breaking In, 424
Breaux, Marc, 400
Brecher. Kenneth, 89
Brechner, Stanley, 430
Brecht, Bertolt, 38. 73. 82,
418
Breed. Helen Lloyd, 383
Breen, J. Patrick, 354
Breese. Steven, 81
Breindel. Scott, 428
Brel. Jacques. 37. 409
Brennan. Tom. 381. 421, 429
Brenner. Randy. 68. 414
Brent Peek Productions, 403
Brentano. Amy, 417. 418
Brenton. Howard, 75, 106
Breton. Raoul, 93
Breuer. Lee. 421
Breuler. Bob. 80
Brew (Broue), 118
Brewer. Griffith, 118
Brewster. Bonnie, 422
Brian. Michael. 377
Brides, The, 106
Bridgers. Ann. 375
Bridgewater. Dee Dee. 448
Brief Encounter, 73
Briggs. Jody. 110
Briggs. John R., 332
Brigham. Patrick S.. 360
Bright. Linda. 420
Bright. Richard, 426
Brighton Beach Memoirs, 4.
7, 8, 17, 40, 67. 88. 354,
458, 459, 460, 462, 463.
465, 466. 467
Brill. Fran, 95. 111. 381
Brinkley. Susann, 415
Brinkmann. Ruth, 427
Briski, Norman, 413. 415
Brisson. Frederick. 363
Broad. Jay, 110, 113,332.403
Broadhurst, Kent. 92. 419
Broadway Scandals of 1982,
432
Brock. Gregory, 439
Brockmeyer. John D., 427
Brocksmith. Roy. 35, 77, 374
Brockway. Adrienne J., 428
Brockway, Amie. 428
Broderick. Matthew. 8, 17.
89. 354, 462, 465, 467
Brodhead, James E., 86
Brodie, Lance, 443
Brody, Michael, 417, 426
Brogger, Ivar. 69. 85, 441
Broken Toys, 25. 31. 376
Brolaski. Carol. 82
Bromka. Elaine. 102. 440
Bronte, Charlotte, 83
Bronte, Emily, 92
Brook. Pamela. 383
Brook. Peter. 33
Brooklyn Academy Of
Music. 430
Brooks. Alan, 93. 414
Brooks, Colette. 415. 416
Brooks, Donald, 364
Brooks, Jacqueline. 429
Brooks. Jeff. 448
Brooks, Jeremy. 80. 384
Brooks, Joel, 116
Brooks. Richard. 419
Brosius. Peter C, 89
Brothers, 81
Brothers-Lowry. Deborah. 74
Brovarney. Dan. 94
Brown. Abena Joan. 420
Brown, Al, 429
Brown. Amelda. 391
Brown, Arvin, 7, 22, 33, 95,
97. 349
Brown. Blair, 107
Brown. Bonnie Ann. 73
Brown, Charles. 103. 448
Brown. Charles Michael. 419
Brown, Christopher. 107
Brown, David. 118
Brown. Garrett M., 112
Brown, Graham, 79, 372,
402, 419, 467
Brown, Jenny, 1 14
Brown, Julius Richard, 338
Brown, Karon, 342
Brown. Ken. 428
Brown. Linda Leilani. 442
Brown. Lisa. 444
Brown. Loren. 419
Brown. Pat. 85. 86
Brown. P.L.. 360
Brown. Roger, 416. 443
Brown. Ruth. 420
Brown. Sharon. 446
Brown. Zack. 115. 352
Browne. Roscoe Lee, 361
Browne. Wynyard, 35. 383
Browning. Robert. 84
Browning Version, The, 369
Brownstein. Elaine, 331
Bruce. Cheryl, 402
Bruce. Shelley, 432. 436
Bruhn. Karen, 431
Brumley. Keith, 111
Brummel. David. 443
Bruneau. Ainslie, 87
Bruneau, Ralph. 444
Brunetti, David. 110. 331,
383
Brustein. Robert. 76
Brutus, Dennis. 77
Bruzzese, Elizabeth. 443
Bryan. Robert. 359, 463
Bryan. Wayne, 117. 466
Bryan-Brown, Adrian, 372,
383
Bryant. Mary, 339
502
INDEX
Bryggman, Larry, 413
Bryne, Barbara, 95
Buchana, Linda, 467
Buchman, Andrew, 110
Buck, 25, 29, 376-392
Buck, Gene Davis, 114
Buck, John Jr., 79
Buckley, Betty, 9, 10, 22,
340, 462
Buckley, Candy, 82, 83
Buckley, Robert A., 348, 360
Budin, Rachel, 88, 94, 415,
416
Buechner, George, 37, 393
Bufman, Zev, 349, 362, 463
Bullard, Thomas, 92
Bullard, Tom, 382
Bullock, Donna, 391, 420
Bulos, Yusef, 419
Bundle of Nerves, A, 25, 403
Bunkhouse, The, 87, 115
Bunraku Puppet Theater of
Japan, 431
Bunt, George, 371
Burch, Shelly, 447
Burda, Donald, 117
Burge, Gregg, 448, 449
Burge, James, 381
Burgess, Granville Wyche,
369, 428
Burgess-Harr, Elizabeth, 398,
399
Burgler, Terry, 103, 104
Buried Child, 93, 94, 115
Buried Inside Extra, 7, 25,
29, 388-391
Burke, Brendan, 106
Burke, John, 362
Burke, Martha, 71
Burke, WiHi, 338, 339
Burkheimer, Susan, 425
Burman, Martin, 431
Burnell, Peter, 72, 73, 93
Burnett, Howard J., 365, 403,
408
Burnham-Callaghan Associ-
ates, 338, 370, 379, 400
Burning Heart, 417
Burns, Art, 429, 430
Burns, Helen, 109
Burns, Jere, 374
Burns, Karla, 360, 462, 466
Burns, Ralph, 329
Burns, Robert, 100
Burns, Timothy, 413
Burr, Britt, 114
Burr, Courtney, 89
Burr, Robert, 75, 114
Burrell, Deborah, 442
Burrell, Terry, 442
Burrichter, Bob, 357, 371
Burrough, Roslyn, 357
Burroughs, Robert, vii
Burrus, Bob, 85, 86
Burstyn, Ellen, 8, 17, 344
Burton, Chad, 336
Burton, Kate, 335, 347, 384,
465
Burton, Richard, 34, 362
Burton, Richard F., 90
Busch, Diane, 424
Busfield, Timothy, 354
Bush, James, 108
Bushy, Gerald, 417
Bussard, Larry, 388, 408
Bussert, Meg, 437
Bustard, Wendy, 429
Butler, Dan, 91, 102, 388
Butler, Michael, 384, 432
Butler, Paul, 392
Butler, Rick, 394, 417, 465
Butleroff, Helen, 101
Butley, 229, 230, 234
Butt, Joseph L., 406
Butter and Egg Man, The,
418
Butterfingers Angel, The,
101
Button, Jeanne, 371
Buxton, William D. Jr., 331
Buxbaum, Jack, vii
Buzas, Jason, 429
Byck, Dann, 355, 462
Byers, Bill, 339
Byers, Catherine, 365
Byers, Michael, 107
Byers, Ralph, 75, 390
Bylund, Scott, 424
Bynum, Brenda Lynn, 394,
395, 396
Byrd, Debra, 69
Byrne, Allan, 79
Byrne, John, 3, 7, 12, 353
Byrum, John, 379
Caballero, Roxann, 98, 439
Cada, James, 106, 107
Cadell, Selina, 390
Caden, Kathryn, 71
Caesar, Adolph, 448
Cagan, John, 86
Cahan, Abraham, 430
Cahill, James, 374, 408
Cahn, Cathy, 400
Cain, Candace, 71
Cain, William, 74, 355
Caine Mutiny Court-Mar-
tial, The, 6, 33, 67, 111,
334-337, 463
Cairns, Jeanne, 82
Calabro, Thomas, 78, 95
Calder, Len, 428
Calderon, Ian, 365, 415
Caldicott, Helen, 90
Caldwell, Bronwyn Jones,
104
Caldwell, Charles, 104
Caldwell, David, 427
Caldwell, Jesse, 414
Caldwell, L. Scott, 75, 402,
403
Calhoun, Jeff, 333
Caliendo, Kirk, 414
Calkins, Michael, 436
Callan, Cecile, 78, 101
Callan, K., 82
Calvert, Suzanne, 71, 80
Camelot, 437
Cameron, Ben, 87, 88
Cameron, Hope, 381
Cameron, J. Smith, 419
Cameron, John, 424
Cameron, Julia, 102
Cameron, Katrina, 424
Cameron, Vertrelle, 357
Caming, Scott, 424
Camp, Joanne, 95, 445, 465
Camp, Judson, 426
Camp, Richard Brennan, 102
Campanella, Philip, 372, 373,
383, 384
Campbell, Bruce, 374, 378,
388
Campbell, Clayton, 428
Campbell, Douglas, 118, 119
Campbell, Elaine, 404
Campbell, Graeme, 118
Campbell, J. Kenneth, 107,
336, 432
Campbell, Laura, 82
Campbell, Louise, 421
Campbell, Mrs. Patrick, 109
Campbell, Patrick, 399
Campion, Donna, 397, 398,
399
Campisi, Tony, 102
Canary, David, 72, 432
Candide, 114
Cannon, AHce, 443
Cano, Jordi, 416
Cantin, Jim, 373
INDEX
503
Cantor, Arthur, 346, 347
Canuin, Rue, vii
Capecce, Victor, 112, 408
Capodice, Tessa, 375
Capofari, Kathryn, 424
Caporaso, Rudi, 422
Carambo, Cristobal, 417
Carden, William, 422
Cardille, Lori, 102
Carey, Helen, 119
Cariello, Tom, 76
Cariou, Len, 8, 20, 118, 119,
363
Carle, Cynthia, 75, 91
Carlin, Chet, 358
Carlin, Joy. 73, 110
Carlo, Johann, 348, 390
Carlsen, Allan, 434
Carlson, Harry G., 422
Carlyon. David, 424
Carmichael, Bill, 369, 444
Carmines, Al, 433
Carnelia, Craig, 444
Carney, Georgia, 117
Carnovsky, Morris, 95
Carol, Seraiah, 357
Caroli, Victor, 426
Carolyn, 74
Carousel, 101
Carpenter, Bethany, 105
Carpenter, James, 69
Carpenter, John, 89, 113
Carpenter, Larry, 101
Carpenter, Willie, 419, 431
Carpi, Fiorenza, 94
Carr, Amy, 404
Carr, Bill, 117
Carr, Jay P., 462
Carr, Laurence, 424
Carradine, Keith, 12, 344,
466
Carragher, Bernard, 361
Carricart, Robertson, 409
Carrie and Nell, 419
Carriere, Berthold, 119
Carroll, Barbara, 334
Carroll, Beeson, 75
Carroll, David-James, 333,
418
Carroll, Diahann, 435
Carroll, Helena, 362
Carroll, Jessica Rene, 382
Carroll, Kitty, 114
Carroll, Lewis, 347
Carroll, Lisa, 88
Carroll, Ronn, 333, 399
Carroll, Vinnette, 18, 338
Carson, David, 414
Carson, Thomas, 85
Carten, Bob, 420
Carter, Andrew, 98
Carter, Dixie, 391
Carter, Duane Clenton, 357
Carter, Myra, 102
Carter, Piper, 88
Carter, Randolph, 92
Carter, Rosanna, 116
Carter, Steve, 117, 419
Carter, Thelma Louise, 419
Carter, William B., vii
Cartier, Jacques, 74
Cartin, James T., 424
Cartwright, Terence, 424,
425
Caruso, Barbara, 98
Carver, Mary, 75
Casaday, Chris, 115
Casanave, Carolyn, 404
Casanova, Antoine, 353
Cascio, Anna, 115
Case of the Oily Levantine,
The, 14, 348
Casey, Ann, 436
Casey, Lawrence, 95
Casey, Michael, 109
Casey, Warren, 431
Cash, 414
Cash, Susan, 111, 380
Cashin, Tom, 419
Caskey, Marilyn, 114, 115
Casnoff, Phihp, 95, 114
Cason, Barbara, 102
Casper, Richard, 414
Cass, Peggy, 444
Cassandra, Nadyne, 117
Casserly, Kerry, 437
Cassidy, David, 446
Cassidy, Patrick, 447
Cassidy, Tim, 440
Cast of Characters, 369
Castang, Veronica, 116, 430,
441
Castine, Ron, 418
Casting, 92
Castle, Elowyn, 414
Castleman, William, 355
Casual Affair, A, 427
Cat on a Hot Tin Roof, 93,
113
Catalan Theater Group, 416
Catastrophe, 370
Cathey, Reg E., 4 1 6, 4 1 8, 420
Catlett, Mary Jo, 333
Catlin, Jody, 117, 384
Cats, 3,4, 6, 7, 9, 10, 11, 18,
19,22,34,41,67,340,458,
460, 462, 463, 464, 465,
466
Catt, Christopher, 371, 400
Cavaco, Manny, 417
Cavander, Kenneth, 110
CBS Broadcast Group, 7, 337
Ceballos, Rene, 340, 438, 439
Cellario, Maria, 418
Celli, Tom, 101
Centaur Theater Company,
The, 118
Center Stage, 72
Center Theater Group/Ah-
manson Theater, 88, 89,
347, 354
Ceremony in Bohemia, 431
Cervany, Lisa, 1 1 1
Cervelles au Beurre Noir, 92
Cesaitis, Edward, 101
Cesari, Julie, 415
Cestero, Carlos, 423
Chadman, Christopher, 351,
440
Chadwick, Robin, 102
Chaikin, Joseph, 417
Chaikin, Shami, 382
Chalfant, Kathleen, 415
Chalk Garden, The, 109, 369
Chamberlin, Mark, 344
Chamberlin, Sally, 428
Chambers, David, 77, 114
Chambers, Linda, 428
Chambers, Louis J., 431
Chambers, Michael, 348,
374, 390, 391
Chambers, Richard, 101
Champagne, Michael, 400
Champeen!, 420
Champion, Bonnie, 408
Chan, Michael Paul, 94
Chandler, Dain, 428
Chandler, Jeflfrey Alan, 348
Chaney, Frances, 114
Chang, Du Yee, 416, 417
Chang, Tisa, 42. 422, 423
Changeling, The, 414
Channing, Stockard, 97
Chapin, Anne, 415
Chapin, Harry, 72
Chapin, Ken, 422
Chapin, Tom, 72, 447
Chapin, Wendy, 341, 381
Chapman. Dabriah, 357
Chapman. David. 112, 333,
371
504
INDEX
Chapman, Gary, 448
Chapman, Gerald, 387
Chapman, John, vii, 414
Chapman, Michael, 370
Chapman, Roger, 413
Chappell, Fred, 71, 72
Chappell, Jonathan, 426
Chappell, Kandis, 107
Chappell, Wallace, 106
Chapter Two, 117
Charles, Keith, 365, 415, 442
Charles, Moie, 91
Charles, Paul, 438, 439
Charles, Walter, 340
Charles M. Schulz Creative
Associates, 400
Charley's Aunt, 109, 414
Charlotte Sweet, 25, 31, 378
Charney, Jordan, 82
Charnin, Martin, 31, 88, 329,
346, 393
Chase, Bud, 363
Chase, Gregory, 428
Chastain, Don, 363, 364
Chater, Gordon, 348, 372
Chausow, Lynn, 405, 406
Chayefsky, Paddy, 429
Cheever, John, 84
Chekhov, Anton, 32, 37, 38,
76, 93, 95, 102, 106, 109,
113, 117, 380, 421, 427
Chekhov in Yalta, 71, 73
Chelsea Theater Center, 44,
420
Chen, Tina, 365, 423
Chenier, Chel, 432
Cherry, Wendell, 355, 462
Cherry Orchard, The, 95
Cherry Orchard Part II,
The, 413
Chesse, Dion, 110
Chessid, Herman, 355
Chester, Nora, 428
Chianese, Dominic, 116, 390
Chiang, Dawn, 94, 423, 428
Chibas, Marissa, 429
Chicken Suit Optional, 408
Chicoine, Susan, 331, 353,
361, 385, 388
Child, Christine, 424
Child, The, 99
Children, 84
Children of a Lesser God,
101
Children's Hour, The, 105
Childress, Yolanda, 94
Childs, Casey, 419
Childs, Lucinda, 371
Child's Christmas in Wales,
A, 80
Child's Play, 108
Chiment, Marie Ann, 101,
417
Chin, Michael G., 423
Chinn, Kevin, 438
Chioles, John, 369
Chislett, Anne, 118
Chiu, Liang Shi, 423
Choate, Tim, 418, 441
Chocolate Cake, 406
Chodofr, Sarah, 72
Chong, Betty, 417
Chong, Ping, 44, 417
Chopin in Space, 419
Chorpenning, Charlotte B.,
87
Chorus Line, A, 329, 437,
440
Chris, Marilyn, 420
Chrisjohn, Garrison, 117
Christen, Robert, 77
Christian, C. Russell, 116
Christie, Agatha, 68, 75, 79,
81, 82, 85, 91, 105
Christon, Lawrence. 66
Christmas, Eric, 103
Christmas Carol, A, 31, 76,
81, 83, 87, 88, 91, 93, 94,
102, 103, 105, 109, 110,
111, 113, 400
Christmas Tapestry, A, 106
Christophe, John, 106
Christopher, Don, 103
Christopher, Joyce Reehling,
386
Chuck London Media, 349,
351, 365, 375, 381, 382,
386, 387
Chuckran, Dru-Ann, 425
Chudley, Ron, 117
Chulak, Armando, 423
Chumley, Daniel, 433
Chun, Lynette, 423
Churchill, Caryl, 23, 24, 369,
388, 464
Chute, Lionel, 428
Cibula, Nan, 77, 85, 381,
425
Cilento, Wayne, 437
Cincinnati Playhouse In The
Park, 77, 78, 79
Cioffi, Charles, 95, 97
Circle In The Square, 33, 34,
67, 334, 388, 406, 463
Circle Repertory Company,
6, 16, 25,27, 31, 349, 375,
385, 386, 387, 390, 459,
462, 465
Circle Repertory Projects In
Progress, 413
Circles, 99
Citron, Casper, 460
Ciulei, Liviu, 94
Civic Repertory Theater, 348
Civilization & Its Malcon-
tents, 419
Claire, Ludi, 1 1 1
Clanton, Rony, 366, 419, 420
Clap Your Hands, 107
Clara's Play, 466, 467
Clarence Derwent Awards,
465
Clark, Andrew, 426
Clark, Bryan, 116
Clark, Cheryl, 440
Clark, Dick, 342
Clark, Douglas, 443
Clark, Douglas Glenn, 424
Clark, James A., 113
Clark, Jane, 428
Clark, Jo Deodato, 415
Clark, Josh, 111, 347
Clark, Rodney W., 72
Clark, Terrie, 84
Clarke, Caitlin, 94, 359, 381
Clarke, Gary K., 117
Clarke, J.D., 431
Clarke, Patrick James, 98
Clarke, Richard, 371
Clarkson, Alison, 404
Clarkson, John, 75, 381
Classic Stage Company
(CSC), 25, 30, 36, 37, 374,
393, 395, 396, 466
Clay, Buriel, 420
Clay, Don, 371
Clayburgh, Jim, 421
Clayton, Lawrence, 441
Cleavage, 15, 18, 67, 332
Cleaver, Robin, 350
Clemenson, Christian, 97
Clemente, Aixa, 423
Clemente, Rene, 333, 340,
440
Clements, Randy, 438
Clenton, Duane, 357
Clerk, Clive, 438, 439
Cleveland, Sally, 108, 114
Cleveland Play House, 79, 80
Cliff, Oliver, 113, 114
Clift, Jeannette, 86
INDEX
505
Clifton. John, 110
Cline, Perry, 371, 404
Clingerman, John, 432
Close. Del, 76, 77
Close, Glenn. 371. 464
Close Ties, 86
Closed Door, The, 424
Qosely Related, 46, 47, 81
aoud9, 20. 23,41, 369,440
Clown Bagatelles, The, 369
Cluchey, Rick, 77, 392
Clucks, 91
Coffin, Fred, 419
Coan, Kirtan, 91
Coates. Thorn. 72
Cobb, Mel, 366
Cobbs. Bill, 419
Coble. Tom, 425
Coburn, D.L., 82, 103. 105,
107, 109. 110
Cochren. Felix E., 87. 403
Cockburn. Barrie, 418
Coco. James. 355
Coconut Grove Playhouse,
81
Codron. Michael, 366
Coe. Peter, 112
Coe. Richard L., 462
Coerver, Michael, 428
Cogan, Carol, 345
Cogo-Fawcett, 107
Cohan, George M., 329
Cohen, Alexander H., 344
Cohen. Buzz, 336
Cohen, Christopher A., 344
Cohen, Deborah, 417
Cohen, Edward M., 431
Cohen, Jason Steven, 348,
374, 378, 388
Cohen, Joel, 431
Cohen, Joyce, 414
Cohen, Lynn, 85, 93
Cohen, Marcy, 118
Cohen. Margery, 409
Cohen, Marvin, 421
Cohen, Neil, 431
Cohen, Shura, 402
Cohenour, Patti, 338
Coit, Connie, 404
Colacci, David, 107
Colahan. Giles F., 405
Colahan, Libby, 405, 406
Colavecchia, Franco, 75, 405
Colby. Michael, 31, 378
Colby. Sandra T., 100
Cold Harbor, 43. 421, 465
Cole, Doug, 406
Cole, Gary, 77, 466
Cole, Gilbert, 92
Cole, Kay. 400, 438. 439
Cole, Megan, 70
Cole, Nora. 338
Cole. Rebecca, 77
Cole, Tom, 94
Coleman, Charles, 331
Coleman, Louise, 357
Coles. Charles "Honi", 20,
22. 361, 462, 466
Colette Collage, 429
Colker, Jerry, 440
CoUamore, Jerome, 381
Colley-Lee, Myrna, 372
Collie, Brenda Faye, 419
Collins, Brent, 417
Collins, Pat, 69, 85, 97, 112,
345, 351, 380, 381, 403
Collodi, Carlos, 87
Colman, Booth, 105
Colman. Richard, 386, 387
Colquahon, Caitlyn, 117
Columbia Pictures Stage Pro-
ductions, Inc., 7, 350, 462
Colverd, Susan, 432
Colyer, Austin, 414
Comedie Frangaise, 372
Combs, Jeffrey, 81, 107
Comden, Betty, 4, 18, 338,
462
Come and Go, 37, 405-406
Come Dog, Come Night, 417
Comeback, 117
Comedians, 418
Comedy of Errors, The, 69,
76
Comens, Leslie Erich, 427
Common Wealth Award, 466
Company, 6, 43. 421, 465
Condee. Bill, 424
Condemned of Altona, The,
431
Cone, Lucinda Hitchcock,
115
Cone, Tom, 29, 375
Conery. Edward, 335
Confessions of a Dope Fiend,
The, 432
Conforli, Gino, 443
Conger, Eric, 71. 80
Conhenour, Patti. 339
Conjur Woman, 418
Conklin, John, 85, 97
Connell, David. 420
Connell, Gordon, 31, 111,
370
Connell, Jane. 85, 423
Connell. Kelly, 418
Conner. Bar Dell. 361
Conner. Byron, 414
Connolly, John P., 78, 113,
420
Connolly, Michael, 371
Conolly, Patricia, 107
Conroy. Frances, 43, 425
Conroy, Jarlath, 425
Conroy, Kevin, 374
Contemporary Theater, A,
110
Contessa. Maria, 423
Converse-Roberts, William,
17, 345, 391. 430
Convy, Bert, 442, 446
Cook, Candy, 364
Cook. Carole, 444
Cook, Dwight R.B., 392
Cook, Jill, 361
Cook, Linda, 434
Cook, Reagan, 423
Coonan. Sheila, 381
Cooney, Ray, 414
Cooper, Bob. 384
Cooper, Christopher, 429
Cooper. Gary D., 423
Cooper, Maury, 93
Cooper, Reva, 375, 386
Cooper, Roy, 366
Cooper, Sharyn, 424
Cooper, Susan, 3, 4, 11, 22,
344
Cooper-Hewitt Museum, 430
Cooper-Miraella, Joan, 358
Copeland. Maurice, 85, 415
Copland, Laura. 103, 422
Coppenger, Royston, 98
Copple. Mary, 388
Coppola, Sam, 336
Coray, Catherine. 68
Corbin. Albert, 93
Corcoran. Daniel. 408. 409
Cordon. Susie, 346, 382
Corey, Irene, 84
Corfman. Caris, 114, 416,
436
Corkscrews!, 432
Corman. Roger. 30. 376
Correia. Don. 438. 448
Corren, Donald. 107
Corsaro. Mary. 400
Corsaut. John. 338
Cortez. Katherine, 344, 375
Corti, Jean. 409
Corti, Jim, 440
506
INDEX
Corzatte, Clayton, 110, 111
Cosgriff, Bill, 424
Cosgrove, Cathy, 399
Cosgrove, Peggy, 80
Cosier, Charles, 113, 429
Coss, Claire, 416
Costa, Jordi, 416
Costello, Tom, 418
Costelloe, Paul, 80
Costigan, Ken, 68, 414
Cote, Michel, 118
Cotsirilos, Stephanie, 418
Cotton Patch Gospel, 72
Cotton Patch Version of Mat-
thew and John, The, 72
Cottrell, Marian, 110
Cottrell, Richard, 93, 113
Couch, Harriet, 398, 399
Coulter, Allen, 431
Council, Richard, 372, 426
Councill, Christopher, 82
Counterpoint Theater Com-
pany, 384
Coup, 91
Coupla White Chicks Sitting
Around Talking, A, 27, 80
Courbet, Robin, 428
Courson, Robert, 363, 387
Courtenay, Tom, 231
Courtney, Phyllis, 70
Covey, EHzabeth, 94, 102
Cowan, Edie, 377
Coward, Noel, 32, 34, 69, 73,
80, 88, 89, 101, 106, 334,
362
Cowgill, Brad, 82
Cowles, Peggy, 91
Cox, Barbara, 82
Cox, Catherine, 101, 404
Cox, Joe, 84
Cox, Patricia, 371, 380
Cox, Richard, 419
Coyle, Bruce, 101, 427
Coyle, James, 107
Coyote Ugly, 97, 116
Cradle Will Rock, The, 37,
406-409
Craig, Noel, 364
Crain, Stephen, 333, 414
Cramer, James Logan, 427
Cramer, Rickie, 358
Crandall, Cheryl, 333
Crane, Karen, 358, 463
Crane, Warren, 360
Cranney, Jon, 113
Cranshaw, Bob, 354
Craven, David, 418
Craven, Rutherford, 86
Crawling Arnold, 425
Creation of the World and
Its True Meaning, The,
422
Creeps, 467
Creighton, Georgia, 433
Cressell, Saylor, 105
Crimes of the Heart, 17, 89,
330, 441
Crinkley, Richmond, 365
Criscuolo, Lou, 366
Crist, Judith, 460
Cristofer, Michael, 27, 97,
385
Criswell, Kim, 447
Critchley, Cecelia, 424
Critt, C.J., 414
Crivello, Anthony, 432, 442
Croach, Michael, 445
Croce, Camille, vii, 26, 411
Crom, Rick, 379
Cromarty, Peter, 362, 370,
376, 384, 385, 392, 393,
399, 408
Cromwell, Gloria, 72
Cromwell, James, 390
Cromwell, J.T., 409
Cron, George, 425
Cronin, Jane, 95, 371
Cronin, Laurel, 84, 466
Cronyn, Hume, 3, 8, 11, 12,
22, 344
Cronyn, Tandy, 85, 97
Crook, Peter, 374, 375
Crosby, Bob, 329
Cross, Marcia, 372
Cross, Murphy, 438
Cross, Stephen, 427
Crossfire, 1 1 1
Crothers, Sam, 344
Crouch, Kensyn, 419
Crouse, Russel, 370
Crowder, Jack, 442
Crowe, Timothy, 102, 103
Crowther, Paulette, 415
Croxton, Darryl, 421
Croydon, Joan, 106
Crucifer of Blood, The, 102,
116
Crum, Mary Lynn, 105
Grumpier, Nancy, 427
Cruz, Miriam, 415
Cryer, Bruce, 444
Cryer, David, 442
Cryer, Gretchen, 370
Crystal, Raphael, 431
CSC (see Classic Stage Com-
pany)
CuccioU, Bob, 397, 398, 399
Cuervo, Alma, 75, 419, 421
Cuka, Frances, 383, 418
Culbert, Bobbi, 114
Cullen, David, 340
Cullen, Jeanne, 408
CuUey, Jane, 414
CuUinan, Francis, 88
Cullison, Barry, 441
CuUiton, Joseph, 109
Gulliver, Karen, 360
Cullum, John, 85, 362
Culman, Peter W., 72
Gulp, Jason, 68
Gulp, Steven, 112, 116
Gumming, Richard, 103
Cummings, Gretel, 391
Cummings, Jim, 405
Cummings, Tony, 88, 346
Cummins, Charlie, 81
Cunliffe, Jerry, 433
Cunliffe, Shay, 110, 393
Cunningham, James R., 362
Cunningham, John, 97, 403,
442
Cunningham, Peter, vii
Cunningham, Stanton, 71
Curchack, Fred, 427
Curelap, Alan, 80
Curless, John, 383, 415
Curran, James, 428
Currie, Glenne, 458, 459
Currier, Terrence, 114
Curry, Anthony P., 371
Curry, Tim, 436
Curt, Fred, 333
Curtis, Brenda, 80
Curtis, Keene, 436
Curtis, Roger, 101
Curtis-Brown, Robert, 348
Curtis-Hall, Vondie, 442
Cusick, Hanna, 84
Custer, John F., 103
Cutler, Leslie B., 431
Guzzocrea, Domenic, 118
Cymbeline, 114
Cypkin, Diane, 426
Cyr, Myriam, 1 18
Dabdoub, Jack, 351
Dabney, Ron, 372
Dace, Tish, 465
Dacosta, Noel, 354
D'Addario, Paul, 347
Daemke, Valery, 113
INDEX
507
Dahill, Frank, 374
Dahlstrom, Robert, 1 1 1
' Daily, Daniel, 428
Dal'Ava, Louis, 432
Dale, Karyn Lynn, 420
Dale, Mary, 364
Dale, Pan, 393
Daley, Stephen, 110
Dallas, L.B., 427
Dallas, Peter, 418
Dallas, Walter, 72, 402
Dallas Theater Center, 82,
83, 84
Dally, Douglas, 397
Dalton, Lezlie, 425
Daly, Joseph, 418
Damashek, Barbara, 100
Dames at Sea, 104
Damon, Cathryn, 12, 109,
365
Dana, F. Mitchell, 77, 79,
104, 346, 467
Dana, Leora, 85
Dance a Little Closer, 6, 7,
15, 20, 67, 363
Dance Theater Workshop/
Economy Tires Theater,
44, 430
Dancin', 329
Dane, Peter, 100
Danek, Michael, 438
Dangler, Anita, 1 16
Danias, Starr, 352
Daniele, Graciele, 375
Danielle, Marlene, 340
(Danielle, Susan, 437
Daniels, Dennis, 439
Daniels, Jeff, 31, 375, 381,
464
Daniels, Laurie, 86
Daniels, Paul, 375, 391
Danner, Dorothy, 360
Dansicker, Michael, 101, 341
Danson, Randy, 348, 432
Dante, Nicholas, 329
^ D'Antonio, Gerard, 431
D'Antonio, Patrick, 382
Danton's Death, 37, 393-396
Dantuano, Michael, 378
Danube, The, 427
Danzer, Kathy, 441
Danziger, Ken, 467
D'Aquila, Diane, 84
D'Aquila, Kenny, 432
Darbon, Leslie, 82
Darden, George, 357
Darling, John, 421
D'Arms, Ted, 1 1 1
Darnauer, Rebecca, 399
Darnutzer, Don, 1 14
Darrah, Thomas, 76
Darrow, Harry, 427
Darveris, George, 403
Daughters, 98
Dauphinais, Marcel, 118
David, Daniel, 332
David, Hal, 414
David, Keith, 100, 105, 412
David, Regina, 1 14
David and Paula, 430
Davidge, D. Scot, 333
Davidow, Julianne, 355
Davidson, Allis, 109
Davidson, Bob, 1 1 3
Davidson, Gordon, 89, 97,
386
Davidson, Jack, 392, 413
Davidson, Jeannie, 71, 74
Davidson, PhiHp, 69, 70, 71
Davidson, Richard M., 383,
431
Davies, David, 402, 403
Davies, Geraint Wyn, 118
Davies, Howard, 7, 11, 341
Davies, Julie, 390
Davies, Lane, 71
Davies, Peter, 74
Davin, Daniel, 336
Davis, Andrew. 416, 428
Davis, Bill C, 78, 91, 101,
105, 107, 113, 116
Davis, Bob, 432
Davis, Brad, 89
Davis, Bruce Anthony, 448
Davis, Carl, 405
Davis, Clayton, 414
Davis, Clinton Turner, 372
Davis, Donald, 117
Davis, Heidi Helen, 414
Davis, Henrietta Elizabeth,
357
Davis, Humphrey, 383
Davis, Jeff, 75, 79, 357, 385,
420
Davis, John Henry, 75, 413
Davis, Judith, 82
Davis, Lance, 1 1 1
Davis, Lindsay, 371, 400
Davis, Melissa, 400
Davis, Ned, 379
Davis, Peter, 1 14
Davis, R.G., 113
Davis, Russell, 115
Davis, Sheila Kay, 376
Davis, Ted, 434
DaVito, Karla, 447
Dawber, Pam, 447
Dawson, Curt, 347
Dawson, James, 382
Dawson, Randy, 390
Dawson, Suzanne, 414
Day, the Night, The, 44, 432
Day Game, 424
Day of the Races, 424
Day They Shot John Len-
non, The, 102, 108
De Angelis, Barbara, 349,
424
de Banzie, Lois, 441
de Boer, Ed, 344
De Cecco, Sergio, 423
De Felice, Aurelia, 432
de Guzman, Jossie, 94
De La Giroday, Francois, 345
de la Pea, George, 352
de la Torre, Ramon, 416
de Liagre Jr., Alfred, 352. 463
de Madrid, Victor Gil, 423
De Menil, Francois, 341
De Munn, Jeffrey, 8, 15, 355,
374, 462
de Pass, Paul, 332, 404
de Paul, Gene, 333, 462
De Pauw, Joseph, 404
De Shae, Edward, 402, 403
De Shields, Andre, 69
De Voider, Max, 106
Dead Letters, 109
Deakin, Ian, 119
Dean, Carla, 85
Dean, Charles, 73
Dean, Felicity, 341
Dean, Jennifer, 1 18
Dean, Larry, 334
Dean, Mary Kay, 421
Dean, Michael-Pierre, 360
Dean, Robertson, 426
Deane, J.A., 387
Dear Liar, 109
Dearing, Judy, 76, 90, 392,
402, 412, 420
Death of a Salesman, 111,
113
Death of Von Richtofen as
Witnessed From Earth,
The, 25, 29, 31, 377, 465
Deathtrap, 101, 113, 329
DeBaer, Jean, 381, 387
DeBruno, Tony, 1 13
Debuskey, Merle, 335, 344.
348, 374, 378, 388
508
INDEX
Debut, 102
deBuys, Laura, 346, 357
Decareau, Dick, 436
DeChristopher, Dave, 431
Deckel, Larry, 91, 92
Decker, Carmen, 105, 466
Decker, Dennis, 342
Deckert, Blue, 86
Decof, Bethany Faye, 100
Dee, Peter, 420
Deedy, Thomas, 102
Deering, Sally, 428
DeFabees, Richard, 332
DeFonte, Anthony, 336
DeFrank, Robert, 113
Deihim, Susan, 417
Dein, Joel W., 342
Deitcher, Jordan, 427
DeJongh, James, 29, 391
Del Pozo, Emilio, 415
Del Torto, Gregory M., 79
Delaney, Thomas, 372
Delany, Dana, 432
Delate, Brian, 390, 426
Delery, Clayton J., 424
Delia Austrian Medal, 465
Delicate Balance, A, 102
Delia Piazza, Diane, 77
DeLong, Denise, 430
Delsener, Ron, 354
Delusions of a Government
Witness, 414
DeMain, John, 360
DeMaio, Tommy, 360
DeMarco, Brian, 75
DeMarse, James, 431
Demas, Carole, 443
Demolition Job, 84
Dempsey, Jerome, 348
Dempster, Curt, 42, 413, 414
Dendy, Michael, 82
Denis, William, 103
Denker, Henry, 365
Denmark, Leon B., 372, 402
Dennehy, Dennis, 378
Denney, Felicia, 84
Dennis, Danny, 362
Dennis, Robert, 329, 421
Dennis, Ronald, 20, 361, 438
Dennis, Sandy, 391
Dennis, William, 104
DeNonno, Tony, 424
Denton, Jim, 426
Denver Center, 359
Department, The, 427
Depenbrock, Jay, 79
dePriest, Diane, 81
Derricks, Cleavant, 442
Derricks-Carroll, Clinton,
442
Desai, Shelly, 426
Desert Song, The, 399
Desimone, Denise, 85
Desire Under the Elms, 87
Desmond, Dan, 114
Destiny With Half Moon
Street, A, 80
Details Without a Map, 428
Detante, Olivia, 360
Devin, Richard, 82, 104
Devine, Loretta, 441
Devine, Michael, 82, 89
Devlin, Jay, 78
DeVries, Jon, 98
Dewey, Alice, 381
Dewhurst, Colleen, 34, 336,
355
Di Pietro, Phil, 371
Diagonal Man (Theory And
Practice), 427
Diamond, Beryl, 341
Diamond, I.A.L., 414
Diamond, Liz, 424
Diamond, Marcus, 100
Diamond, Neil, 329
Diamond Studs, 69
Diane, 82
Diary of Anne Frank, The,
98
Diaz, Tony, 423
Dick Clark, Inc., 342
Dick Deterred, 421
Dickens, Charles, 76, 79, 80,
81, 83, 87, 88, 91, 93, 94,
102, 103, 105, 106, 109,
110, 111, 113, 400
Didawick, Dawn, 91, 92
Different Moon, A, 429
DiFilippo, Marylou, 428
Diggs, EHzabeth, 82, 86
Dignan, Pat, 425, 426
Diller, EUzabeth, 417
Dilley, Carol, 466
Dillon, Denny, 20, 22, 361,
462
Dillon, John, 93
Dillon, Mia, 89, 98, 381,435,
441
Dillon, Sandy, 342
Din Din With Fran & Ted,
424
Dining Room, The, 41, 74,
76, 86, 100, 107, 109, 110,
113, 114, 369, 441
Dinstuhl, Charles, 432
Dionne, Margot, 75
Dirickson, Barbara, 107, 109
Disability: A Comedy, 106
Disalle, Glauco, 424
Disappearance of the Jews,
The, 77
Dishy, Bob, 89
Disipio, Fred, 342
Ditch, The, 428
Diveny, Mary, 90, 91
Divine Hysteria, 25, 29, 377
Diviners, The, 8 1
Division Street, 72
Dix, Richard, 360
Dixie, Dennis, 92
Dixon, Janice D., 357
Dixon, Maclntyre, 347
Dixon, Mort, 330
Dixon, Oliver, 336
Djordjadze, Timor, 428
D'Lugoff, Art, 409
Do Lord Remember Me, 29,
391-392
Dobris, T. David, 405
Dockery, Leslie, 412
Dodd, John P., 427
Dodd, Jonathan, vii
Dodds, William, 352
Dodge, Andrew, 114
Dodge, Jimmy, 444
Dodge, Marcia Milgrom, 373
Dodge, Norm, 379
Dodson, Jack, 355
Doepp, John, 101, 110
Doerr, Jim, 419
Dog Eat Dog, 85
Dohrmann, Amy, 113
Dolan, Amy, 358
Dolan, Judith, 88, 405, 409
Dolby, Cheryl Sue, 342, 351,
371
Doll's House, A, 19, 97,339
Doll's Life, A, 6, 7, 18, 67,
338, 462, 465
Dolly, The, 109
Dolphin Position, The, 42,
413
Dolson, Mark, 107
Dom, Emmanuel, 422
Domestic Issues, 25, 27, 385-
386
Dominic, Zoe, vii
Don Carlos, 431
Don Juan, 7,25,35,374-375,
465
Don Juan in Hell, 71
INDEX
509
Donahue, Kevin C, 370
Donald, Mark, 84
Donat, Peter, 109
Dondlinger, Mary Jo, 429
Donegan, Martin, 106
Donellan, Tom, 391
Donkin, Eric. 119
Donnellan, Tom, 421
Donnelley. Mark, 82, 108
Donnelley. Peter, 1 1 1
Donnelly, Donal, 37
Donoghue, Timothy, 100
Donohue, Nancy, 413
Donovan, Casey, 362
Donovan. Kevin, 114, 115
Don't Start Me Talkin' or
I'll Tell Everything I
Know, 418
Dontzig, Gary, 89, 107
Dooley, Ray, 74, 78
Doolittle, John, 116
Dorfman, Andrew, 342
Dorfman, Richard, 93, 94,
422
Dorfman, Robert, 376, 425
Dorn, Franchelle Stewart,
114
Dorsey, Diallobe, 357
Dorsey, Kent, 108, 114
Dorward, Mary Anne, 341
Dos Passos, John, 75
Dossett, John, 413
Dotrice, Roy, 112
Dougherty, Celius, 370
Dougherty, Shawn, 91
Douglas, 84
Douglas, Hal, 360
Douglas, Lucien, 103
Douglass, Pi, 362
Dowling, Barbre, 80
Dowling, Vincent, 80, 88
Downer, Herb, 75
Downey, Robert, 105
Dowst, Talbott, 85
Doyle, Charles Y., 405
Doyle, Jack, 414
Doyle, Jay, 101, 102
Doyle, Kathleen, 98
Doyle, Mary, 1 1 1
Doyle. Richard, 81
Dozier, Cynthia, 110, 372
Drake, Alfred, 103
Drake, Donna, 438, 449
Drake, Larry, 107
Drake. Ronald, 348
Drake, Sylvie, 46, 65
Drama Desk, 40
Drama Desk Awards, 466
Drama League Award, 465
Dramathon '82, 424
Dramatists Guild, 27, 38, 39
Dramatists Play Service, 465
Draper, Polly, 112, 116, 391,
415, 448
Drayton, Cisco Xavier, 357
Dream Machine, The, 84
Dreamboats, 414
Dreamgirls, 6, 67, 330. 441
Dreisbach, Bill, 382
Dreisbach. Jeffrey, 399
Dresser, The, 77.80.82, 103,
110
Drexler, Rosalyn, 73, 427
Dreyfuss. Richard. 8. 18. 360
Drifter, the Grifter &
Heather Mcbride, A, 25,
31, 371
Drischell, Ralph. 374, 426
Drivas, Robert, 8. 17, 76, 356
Driver, Alberta M., 357
Driver, Donald, 75
Driver, John, 71, 73
Druce, Kim, 417
Drummond, Alice, 355
Dryden. Deborah, 71, 74
Dryden. John, 1 15
Du Bois, Barbara, 74
Du Plantis, Daniel, 419
du Rand, le Clanche, 75, 113
Du Shon. Jean, 331
Dual Heads, 106
Dubin, Al, 330
Dubois, Rene-Daniel, 118
Duckert, Katherine E., 94
Dudley, Craig, 106
Duell, William, 98
Duerrenmatt. Friedrich, 86
Duet for One, 25, 35, 84.
118, 383-384
Duff, Jonathan, 87
Duflf-Griffin, William, 374.
391
Duflf-MacCormick, Cara, 434.
441
Duflfy. Robert, 84
Duggan, Charles H.. 355
Dukakis. John. 98, 116
Duke. Edward. 409
Duke, Paul, 432
Duke, Stuart. 87
Dukes. David. 435
Dulaney, Margaret, 433
DuUea. Keir. 428
Dumakude, Thuli, 402
Dumas. Alexandre, 82, 112
Dunagan, Deanna, 105
Duncan, Andrew. 375. 425
Duncan, Herb, 431
Duncan, Ken, vii
Duncan, Lindsay, 390
Duncan, William B., 72
Dundas, Jennie, 89
Dundon, Donna, 343
Dunegan, Jennifer, 87
Dunleavy. Timothy, 365, 415
Dunlap. Pamela. 82
Dunlop, William, 118
Dunn, Barrie, 1 17
Dunn, Edward. 403
Dunn. Glenn. 106
Dunn, Nell, 12, 111, 345
Dunn, Tom, 419
Dunne, Griffin, 415
Dunnigan, Ann. 421
Dunsworth, John, 117
Duquesnay, Ann, 331
Durang. Christopher. 73. 76,
105, 331, 369. 387, 448
Durant, Don. 424
Durer. C.S., 428
Durham. Christopher, 379
Dusenbury, Karen. 376
Dutton, Charles S., 97. 116
Dutton, Roo, 1 16
Duval. Charles. 421
Duvall, Robert, 33
Dvorsky, George, 112
Dye, Melody A., 352
Dykun, Lawrence N., 409
Dylan Thomas Growing Up,
85
Dyson, Soyini, 420
E/R, 60. 466
Early Male Years, The, 84
Early Warnings, 25, 27, 380-
383
Easley, Holmes, 378
Easley. Richert, 357
Easterling. Benmio, 113
Eastman. Donald, 417
Easton, Ed, 431
Eaton, Bob, 385
Eaton. Gillian, 467
Ebb. Fred. 330
Ebersole. Christine, 381, 445
Ebert, Joyce. 95
Ecco!, 100
Eckhart, Gary C, 76
Eckhouse. James. 422. 423
Eckstrom, Peter, 92
510
INDEX
Economy Tires Theater, 44
Eda- Young, Barbara, 417,
421
Eddison, Robert, 359
Edelman, David, 434
Edelstein, Gordon, 420
Edenfield, Dennis, 438
Edgar, David, 80, 88, 421,
434
Edgar, Miriam Colon, 423
Edgerton, Earle, 75
Edmead, Wendy, 340
Edmond, 4, 25, 27, 31, 392,
458, 459, 465
Edmonds, Bob, 420
Edmonds, Louis, 429
Edmonds, Robert, 420
Edmondson, James, 109
Edmunds, Kate, 111, 381,
382, 416
Educating Rita, 72
Education of Paul Bunyan,
The, 419
Edward Duke, 31
Edward II, 418
Edwards, David, 82
Edwards, Gus, 29, 402, 419
Edwards, Jack, 95
Edwards, Michael Sean, 427
Edwards, Paddi, 467
Edwards, Paige, 362
Edwards, Randall, 393
Edwards, Richard, 110
Edwards, Susan, 332
Edward-Stevens, Michael,
417
EflFron, Edward, 370
Egan, Michael, 1 18
Egan, Patricia, 100
Egan, Robert, 1 1 1
Egigian, Aaron, 431
Egyptology, 391
Egyptology: My Head Was a
Sledgehammer, 31, 388-
391, 465
Eh, Joe, 77
Ehlers, Michael, 414
Eichelberger, Ethyl, 465
Eichler, Lawrence, 425
Eighties, or Last Love, The,
94
84 Charing Cross Road, 7, 8,
17, 67, 344
Eigsti, Karl, 97, 115, 347
Eikenberry, Jill, 95
Einen Jux Will Er Sich Mac-
hen, 114
Einhorn, Susan, 422, 427,
434
Einstein in Ixtlan, 74, 419
Eisen, Max, 410
Eisenberg, Michael, 432
Elba, 25, 380-383
Elbert, Wayne, 355
Elbow to Elbow, 424
Elder, Eldon, 99
Eldredge, Lynn, 378
Eleanor, 424
Eleasari, Helen, 428
Elegy For a Lady, 95
Eley, Karen, 354
Eley, Stephanie, 361
Elias, Tom, 332
Eliasberg, Jan, 106
Elice, Eric, 377
Eliot, Drew, 366
Eliot, T.S., 3, 4, 10, 11, 19,
38, 340, 462
Eliraz, Israel, 370
Eliscu, Lauire, 425
Elizabeth Theater Group,
The, 362
Ellenstein, Robert, 107, 111
Ellerbe, Harry, 68, 105
Ellert, Michael A., 375
Ellinger, Mary, 419
Ellington, Duke, 330
Ellington, John, 81
Elliot, Dennis, 359
Elliot, Marc, 371
Elliott, Alice, 414
Elliott, Edith, 93
Elliott, Harvey, 347
Elliott, Marianna, 90
Elliott, Patricia, 89, 98
Elliott, Robert, 80
Ellis, Fraser, 439
Ellis, Joshua, 341, 345, 346,
347, 357, 359, 360
Ellis, Scott, 429
Ellis, Terrance T., 432
Ellis, William, 371
Ellis-Brown, Jeb, 427
Ellison, Michael, 113, 114
Ellman, Bruce, 408
Ellner, Ed, 432
Elmer, Todd, 370, 403
Elmore, Richard, 69, 70, 71
Elverman, Bill, 413
Embarcadero Fugue, 82
Emch, George, 101
Emeric, Anthony, 397, 398,
399
Emery, Lisa, 365, 413
Emmes, David, 81, 82
Emmons, Beverly, 341, 359,
360, 417, 463
Emmons, David, 77, 85, 105,
381
Emonts, Ann, 108, 423, 425
Emotion, 418
Emperor's New Clothes, The,
72
Empress Eugenie, 118
Encore, 330
Eney, Woody, 1 1 1
Engel, Georgia, 8, 399
Engelbach, Jerry, 426
Engels, Bob, 419
Engle, Debra, 84
Englert, Bernadette, 415
English, Paddy, 117
Englund, Lois, 437
Engquist, Richard, 431
Enik, Ted, 414
Enlow, Barbara, 82
Enoch, Russell, 432
Ensemble Studio Theater, 42,
408, 413
Entermedia, Inc., 371
Entertainer, The, 8, 25, 35,
71, 383-384, 466
Entertaining Mr. Sloane, 94
Epp, Ben, 448
Epperson, Dirk, 109
Epperson, Jane, 104
Epps, Sheldon, 331
Epstein, Alvin, 76
Epstein, David, 91
Epstein, Jonathan, 422
Epstein, Michael, 359, 400
Epstein, Pierre, 348
Equity Library Theater, 414
Erdman, Jean, 428
Erickson, Arthur, 418
Erickson, Maury, 103
Erickson, Mitchell, 337, 355
Erickson, Richard, 418
Eriksson, Edward, 424, 425
Ernotte, Andre, 415, 433
Ernstoff, Jeff, 432
Ertmanis, Victor, 117
Ertmann, Katie, 339
Erwin, Barbara, 436, 437
Erwin, Bill, 467
Escoffier: King of Chefs, 424
Escurriola, Alicia, 416
Esher, J., 338
Espinosa, Victoria, 423
Esposito, Giancarlo, 413,418
Essex, Stephen, 415
INDEX
511
f Esslin, Martin, 1 16
Estabrook, Christine, 116,
386, 406
Esterman, Laura, 105, 396
Estonia You FalL 89
Estrin, Melvyn J., 347
Etiquette, 433
Etjen, Jeffrey, 370, 444
Etkin, Larry, 341
Ettinger, Daniel H., 69
Eubanks, Joseph S., 357
Eubanks, Karen E., 357
Eugene O'Neill Theater Cen-
ter, 115
Eulogy, 42, 414
Eureka, 425
Euripides, 78, 330
Evans, Bill, 354
Evans, Cornelia, 93
Evans, Craig, 377, 429
Evans, David, 339
Evans, Dillon, 94
Evans, Don, 420
Evans, Dustin, 426
Evans, Frank, 414
Evans, Gwyllum, 383
Evans, John Morgan, 98
Evans, Lillian, 86
Evans, Mary Beth, 81
Evans, Peter, 366, 423, 445
Evans, Richard, 339
Evans, Scott, 351
Evans, Troy, 113
Evans, Victor Romero, 410
Eve, 466, 467
Evening, an Afternoon, An,
417
Everett, Claudia, 71
Everhart, Rex, 98
Everly, Jack, 360
Evita, 330, 442
Ewaskio, Henri, 105
Ewer, Donald, 110
Ewing, Tim, 429
Exiles, 415
Exit the King, 38
Exquisite Torture, 425
Extremities, 3, 4, 7, 8, 9, 22,
25,26,27,31,41,407,465,
466
Eyen, Tom, 330
Ezell, John, 80, 88, 110
Faber, Ron, 366
Fabricant, Gwen, 382
Fabrici, Dan, 379
Faded Glory, 413
Fahey, Lee Anne, 380
Fairchild, Kim, 360
Fairchild, Morgan, 445
Fairservis, Elf, 415, 421
Faison, Frankie, 429
Faison, George, 357, 463
Faison, Sandy, 436
Falabella, John, 72, 99, 112,
331, 336, 356, 366, 385
Falco, Ralph, 424, 425
Falk, Kate, 374
Falk, Peter, 8, 77, 367
Falkenhain, Patricia, 103
Fallen Angels, 80, 106
Fallender, Deborah, 107
Fallon, Richard G., 109
Falls, Gregory A.. 110
Falls, Robert, 92, 381
Family Album, 73
Family Business, 86
Family Honor and Other Il-
lusions, 84
Fan Dance, 87
Fanshen, 98, 426
Fantasies of Pushkin, 417
Fantasticks, The, 41, 105,
369, 442
Farabough, Laura, 44
Fargue, Annie, 342
Faria, Arthur, 404
Farin, Paul, 433
Farinella, Rosalyn, 100
Faris, Lamis Beasley, 418
Farkas, James, 426
Farkas, Jonathan, 361
Farley, Robert J., 69
Farr, Kimberly, 116
Farr, Michele, 71, 436
Farrell, Bernard, 81
Farrell, R. A., 110
Farrelly, Patrick, 106
Farwell, Elizabeth, 80
Fassler, Ron, 353
Fast, Howard, 430
Fast, Russ, 431
Fast Women, 42, 414
Father, The, 70
Fatta, James, 364
Fauci, Dan, 371
Faulkner, Cliff, 82
Faulkner, Felicia, 431
Faulkner, William, 94
Fauss, Michael, 71
Faust, 35, 465
Faust, Nick, 93
Faust Part One, 393
Faust Part Two, 393
Fawcett, Allen, 445
Fawcett, Farrah, 402
Fay, Thomas, 95
Faye, Joey, 362
FDM Productions, 341
Fears, Bill, 432
Febus, Jose, 415
Federal Theater Project, 392
Feeble Husband, The, 424
Fehr, Frankie, 99
Feiffer, Jules, 27, 71,89, 329,
375, 425
Feilbert, Ed, 102
Feinberg, Stephen, 92
Feiner, Harry, 88, 370
Feingold, Michael, 73, 116,
413, 458, 459, 464
Feinstein, Alan, 349, 466
Feinstein, Michael, 361
Feist, Gene, 35, 372, 383
Felder, Clarence, 336, 359,
374
Felder, David S., 408
Feldman, Jonathan, 413
Feldman, Richard, vii
Feldman-Shevett, Anita, vii
Feliciano, Brenda, 423
Felix, Edmund, 427
Female Parts, 106
Fen, 24, 25, 388-391
Fenda Maria, 81
Fenhagen, James, 429
Fennario, David, 118
Fenner, Cheryl, 432
Fenning, Stephen, 400
Fenton, George, 341
Fenwick, Gillie, 118
Ferber, Edna, 105, 359
Ferencz, George, 44, 113,
416, 418
Ferguson-Acosta, Dennis,
415
Fergusson, Honora, 421
Fernandez, Esteban, 427
Fernandez, Peter Jay, 113
Ferra, Max, 415, 423
Ferrand, Katherine, 1 10, 1 1 1,
113
Ferraro, John, 387, 393
Ferren, Bran, 342
Ferrer, Anthony, 415
Ferrer, Jose, 80
Ferrer, Rafael, 80
Ferrera, Steve. 376
Ferrone, Richard, 102, 103
Fetters, Clifford, 102
Feuer, Jed, 431
512
INDEX
Feydeau, Georges, 102
Fiala, Jeffrey A., 117
Fibich, Felix, 431
Fichandler, Thomas C, 114
Fichandler, Zelda, 74, 114
Fichter, Thomas M., 110,
111
Fickinger, Steve, 4 1 1
Fiedel, Brad, 90
Field, Barbara, 76, 88, 91,94,
419
Field, Crystal, 416, 427
Fielding, Henry, 100, 426,
458
Fields, Barbara, 92
Fierce Dreams, 102
Fierstein, Harvey, 8, 17, 331,
332, 462, 465, 466
Fifth of July, 16, 67, 71, 78,
79, 80, 86, 93
Figlmiller, John, 83
Figueroa, Laura, 423
Figueroa, Noemi, 423
Filial Pieties, 1 1 5
Filipov, Alexander, 352
Filthy Rich, 84, 117
Final Orders, 380-382
Final Placement, 406
Findlay, Deborah, 390
Finger, Leonard, 403
Fingerhut, Arden, 73, 85,
100, 101, 115, 348, 353,
359, 390, 396, 401, 408,
465
Fink, Bert, 405
Finkel, Fyvush, 377, 446
Finn, William, 29, 376
Finnegan, James, 69
Finnegan, Jerry, 419
Finnegan, Wendy Ann, 95
Finneran, Alan, 44, 432
Finneran, Bean, 44, 432
Fiorito, Lino, 418
Firestone, Ann, 79
Firment, Marilyn, 432
First All Children's Theater
Of New York, The, 69
First Draft, 115
First New York Festival Of
Clown-Theater, 44
Firth, Peter, 436
Firth, Tazeena, 339
Fischer, Donald E., 346
Fischer, Elizabeth, 102
Fischer, Stefan, 70
Fischetti, Michael, 427
Fish Riding Bikes, 416
Fisher, Carrie, 435
Fisher, Jiri, 431
Fisher, Joseph K., 408
Fisher, Jules, 342
Fisher, Linda, 73, 85, 341,
344, 359, 381, 388
Fisher, Phihp, 86
Fisher, Rick, 421
Fisher, Ricka Kanter, 351
Fisher, Robert, 114, 400
Fisher, Zdenka, 431
Fishko, Robert S., 345
Fiske, Ellen, 75, 92
Fitch, Robert, 436
Fite, Mark, 332
Fitelson, David, 413
Fitzgerald, Edward R., 347
Fitz-Gerald, Jason, 419
Fitzgerald, Richard, 348,
359, 360
FitzGibbon, John, 109
Fitzgibbons, Mark, 79, 406,
409
Fitzhugh, Ellen, 375
Fitzpatrick, Bettye, 86
Fitzpatrick, Lynn, 71
Fitzsimmons, David, 101
Five Unrelated Pieces, 414
Fjelde, Rolf, 94, 97, 106
Flagg, Tom, 77
Flakes, Susan, 431
Flanagan, Kit, 413, 466
Flanagan, Pauline, 75, 111,
345
Flanagan, Walter, 113, 366
Flaningam, Louisa, 95, 101,
333
Flannery, Peter, 429
Flashback, 113
Flatt, Robyn, 82, 84
Flavin, Tim, 375
Fleischman, Gladys, 418
Fleming, Eugene, 448
Fleming, James, 428
Fleming, John, 417
Fleming, Leopoldo, 421
Fleming, Sam, 94
Fletcher, Allen, 109, 111
Fletcher, Patricia, 396
Fletcher, Robert, 333, 363
Flett, Sharry, 119
Flies in the Buttermilk, 420
Flight Lines, 92
Flood, Randy, 420
Flood, Stanley, 100
Flora, Becky, 339, 370
Florek, Dann, 97, 382, 429
Florek, Dave, 78
Florenciani, Wilson, 423
Floriano, Paul A., 79
Florzak, Dennis, 351
Flying Karamazov Brothers,
The, 21, 44, 67, 76, 110,
363-430
Fo, Dario, 89, 98, 106, 113
Foard, Merwin, 360
Foeller, Bill, 76
Folden, Lewis, 1 15
Foley, John, 330
Foley, Robert, 103
Foley, Rosemary, 420
Folger Theater Group, 115
Follansbee, Julia, 94, 110
Fond, Miriam, 432
Fonda, Henry, 33
Fong, Devorah, 405
Fontaine, Joel, 98
Fool for Love, 25, 27, 46, 60,
386-387
Foolsfire, 44, 465
Foose, Thomas T., vii, 35
Foote, Hallie, 346
Footfalls, 76
Foran, Owen, 1 17
Forbes, Barbara, 69, 81
Forbes, Kathleen, 402, 403
Forbes, Roger, 95
Forbidden Broadway, 25, 31,
369-370, 444
Force Ten Productions, Inc.,
351
Ford, Alison, 79
Ford, Anne-Denise, 110
Ford, Barry, 429
Ford, Frances, 415
Ford, Paul, 393
Ford, Ruth, 86
Ford, Spence, 350
Ford, Suzanne, 426
Foreigner, The, 61, 62, 93
Foreman, Farrell, 419, 466
Foreman, Richard, 31, 35,
374, 388, 391, 465
Foremen, T.E., 63
Forester, Jon, 431
Forestieri, Lou, 376
Fornes, Maria Irene, 415,
427, 464
Forrest, Leon, 77
Forrester, Bill, 110
Forsyth, David James, 420
Forsythe, Henderson, 408
Fortenberry, Philip, 332
Forty Carats, 17
INDEX
513
42nd Street, 20,41,330,444
47 Beds, Interviewing The
Audience, A Personal His-
tory of the American Thea-
ter, 89
Foster, Beno, 357
Foster, Christopher, 355
Foster, Frances, 29, 392, 419
Foster, Gloria, 94
Foster, Herb, 102
Foster, Ron, 420
Foster, Skip, 71, 72, 106
Foundation of the Dramatists
Guild, 27, 386, 459
Four Lanes to Jersey, 426
Fowkes, Conard, 408
Fowler, Clement, 75, 423
Fowler, Gene, 85
Fowler, Monique, 107
Fox, Alan, 414
Fox, Nancy, 333
Fox, The, 25, 29, 372-373
Foxfire, 3,7,8,9, 11, 12,22,
67, 344, 462, 463, 465, 466
Frame, Donald M., 35, 374
Franchi, Sergio, 446
Francina, Mary, 1 10
Francis, John, 467
Francis, William, 344, 371
Franco, Abel, 93
Franco, Ramon, 413
Frank, Aldo, 354
Frank, David, 75
Frank, Mary K., 355
Frank, Richard, 94, 98
Frankel, Gene, 415
Frankel, Kenneth, 95, 97,
403, 464
Frankel, Richard, 375, 386
Franklin, James F., 87
Franklin, Nancy, 419
Franklyn-Robbins, John, 359
Franks, Michele, 424
Franks, Philip, 359
Franz, Dennis, 81
Franz, Elizabeth, 89, 354,
448, 462
Franz, Joy, 400
Frappier, Jill, 1 17
Eraser, Alison, 105
Eraser, Patricia, 81, 82
Eratantoni, Diane, 340, 439
Fratti, Mario, 331, 424
Frayn, Michael, 366
Erazer, Dan, 98
Erazier, Michael, 344
Erazier, Ron, 417
Freak, The, 369
Fred Breaks Bread With the
Dead: Fragments of a Lost
Reper-Toire, 427
Fred Nathan & Associates,
140, 340, 349, 362, 405,
409
Frederick, David, 75
Frederick, Malcolm, 410
Frederick, Robert, 419
Fredericks, Vicki, 439
Free and Clear, 97
Free Lance Talents, Inc., 379
Freedman, Glenna, 331, 347,
353, 359, 361, 385, 388,
400, 409
Freedman, Robert M., 358
Freek, George, 1 15
Freeman, Cheryl, 360
Freeman, Lon, 434
Freeman, Morgan, 392
Freeman, Steven A., 87
Freimann, John R., 73
Fremont-Cote, Michel, 118
French, Arthur, 355, 448
French, Larry, 74
French Fries, 92
Freud, Sigmund, 370
Frey, Leonard, 106
Fridays, 110
Friebus, Florida, 34, 347
Fried, Michael, 35, 372
Frieder, Sol, 429
Friedman, David, vii
Friedman, Janet, 385
Friedman, Leah K., 427
Friedman, Paul, 375
Friedman, Phil, 363
Friedman, Roma, 426
Friel, Brian, 35, 74, 88, 103,
111, 118, 383, 434
Friends, 74, 425
Friends Too Numerous to
Mention, 431
Frimark, Merle, 342, 351,
371
Friml, Rudolf, 37, 112, 396
Frisch, Richard, 432
Frisch, Robert, 377
Fritz, Paula, 95
Froelich, Peter, 117
From Brooks With Love, 431
Front Page, The, 103. Ill,
467
Frost, Warren, 82
Fry, Aaron, 1 17
Fry, Ray. 90, 91, 92
Fry, Suzanne, 386, 387
Frye, Dwight, 364
Fryer, Robert, 88, 338
Fucillo, John, 379
Fuehrer Is Still Alive, The,
94
Fugard, Athol, 82, 94, 97,
100, 330
Fugue, 467
Fukuda, Tsuneari, 94
Full Circle of the Travelling
Squirrel, The, 419
Fuller, Charles, 77, 89, 369
Fuller, Craig, 87
Fuller, Larry, 339
Fuller, Penny, 467
Fuller, Susie, 428
Fullerton, Fiona, 437
Fullum, Clay, 404
Fulton, Eileen, 443
Fulton, Julie, 98
Fulton, Larry, 412
Funicello, Ralph, 89. 109.
Ill
Funny Face, 20, 33, 360, 361
Funny Thing Happened on
the Way to the Forum, A,
114
Furst, Timothy Daniel, 76,
363, 430
Further Adventures of Sally,
The, 115
Eusich, Marilyn, 90
Futterman, Enid, 420
Gable, June, 351
Gabrielson, Frank, 77
Gaeta, Vincent, 425
Gage, Patricia, 348
Gaines, Boyd, 73
Gaines, Davis, 377
Gaines, Frederick, 113
Galanti, Bernadette, 87
Gale, Brian, 90
Gale, William, 46
Gale, William K., 63
Gale, Zona, 93
Galiano, Joseph, 443
Galiena, Anna, 421
Galindo. Ramon, 350
Gallagher, Helen, 432, 449
Gallagher, Jamie, 97
Gallagher, John, 371
Gallagher, Mary, 85, 406
Gallagher, Megan, 406
Gallagher, Peter, 95, 338, 465
Gallin, Sandy, 345
514
INDEX
Gallo, Paul, 77, 85, 90, 97
Galloway, Pat, 118
Gambaro, Griselda, 421
Gambling, John, 460
Gandhi, Mohandas, 62
Gandhiji, 62
Gandy, Irene, 359
Ganshaw, Robert, 392
Gantry, Donald, 336
Gara, James, 429
Garas, Kaz, 82
Garbage Can Man, 425
Garber, Victor, 107
Garbo, Fred, 44, 465
Garcia, Joe, 360
Garcia, Maria, 415, 423
Garcia Lorca, Federico, 423
Gardenia, 77, 100
Gardenia, Vincent, 391
Gardiner, Don, 385
Gardner, Brooks, 84
Gardner, Jeffrey Holt, 336
Gardner, Laura, 434
Gardner, Lewis, 425
Gardner, Rita, 433, 443
Gardner, Worth, 77
Garfein, Jack, 370
Garfias, Ruben, 433
Garfield, Julie, 413
Gargiulo, Terese, 332
Garland, Geoff, 347
Garland, Jamil K., 338
Garland, Patricia, 438
Garner, Luvenia, 357
Garnett, Gale, 419
Garrett, Jeff, 429
Garrett, Lillian, 113
Garrett, Nancy Fales, 98, 1 16
Garrett, Tom, 360
Garrey, Colin, 421
Garrison, David, 31, 112,
400, 447
Garrity, Paul, 392, 404
Garside, Brad, 444
Garson, Barbara, 427
Garson, Eddie, 424
Garten, Libby, 414
Garth, Eleanor, 419
Gartlan, Anne, 424
Garvin, Christopher, 336
Gary, Harold, 100
Garza, Antonio, 399
Gash, Kent, 419
Gaskill, William, 383
Gasseil, Sylvia, 80, 113
Gatchell, R. Tyler Jr., 340
Gates, Larry, 80
Gatewood, Bess, 344
Gatrell, Claire, 81
Gaudio, Gino, 333
Gauff, Andrew Christopher,
82
Gauthier, Marcel, 118
Gay, Pam, 84
Gaynor, EHza, 380
Gazale, Alexander, 118
Gearey, David, 417
Gedge, James, 360
Geer, Kevin, 85, 97, 116
Geffen, David, 7, 140, 340,
341, 376, 462
Geffner, Deborah, 437
Gehringer, Linda, 105
Geidt, Jeremy, 76
Geisslinger, Bill, 107
Geist, John, 73
Gelb, Jody, 408
Gelbart, Larry, 1 14
Gelber, Jack, 413
Gelfand, Steve, 376
Gelfer, Steven, 340
Gelman, Linda, 432
Gemignani, Paul, 339
Gems, Pam, 109
Gene Frankel Theater Work-
shop, 415
Genelle, Joanne, 364
Genest, Edmond, 74, 95
Geniuses, 114, 369, 445, 465
Geno, Alton, 332
Gentles, Avril, 360
Gentry, Ann, 431
Gentry, Minnie, 420
Gentry, Robert, 113
Genuine Rhinestones, 425
Genya, Alexis, 428
George, Nathan, 420, 434
George, Noelyn, 359
George Jean Nathan Award,
466
George Oppenheimer/News-
Day Award, 466
George Street Playhouse, 409
Georges, Evan A., 386
Georges, Liz, 113
Geost, Judy, 354
Geraci, Leslie, 102
Gerard, Tom, 415
Gerety, Anne, 103
Gerety, Peter, 102, 103
Germain, Stuart, 98
German, Stanley, 397, 398
Germann, Greg, 387
Gero, Chris, 392, 401
Gero, Edward, 68
Gero, Frank, 392, 401
Gero, Jason, 401
Gero, Jonathan, 401
Gero, Mark, 392, 401
Gerould, Daniel, 428
Gerringer, Robert, 103
Gerroll, Daniel, 348, 390
Gershman, Jerry, 101
Gershwin, George and Ira, 4,
19, 20, 32, 33, 357, 360,
361
Gerson, Karen, 92
Gersten, Bernard, 357
Gerunda, Artie, 425
Gesner, Clark, 31
Getting Out, 38, 100
Getty, Estelle, 332
Getty, Peter, 385, 387
Getz, John, 419, 441
Geva Theater, 105
Ghost of Gloomy Manor,
The, 424
Ghost Sonata, 37, 394-396
Ghost Writer, 424
Ghostley, Alice, 436
Ghosts, 6, 7, 33, 67, 337
Gianfrancesco, Edward T.,
377, 429
Giannini, A. Christina, 373,
383
Giannini, Cheryl, 76, 89
Giardina, Anthony, 99
Gibb, Andy, 446
Gibbons, Mary Jane, 397
Gibbons, Thomas, 87
Gibby, James R., 428
Gibson, Christopher, 431
Gibson, John, 421
Gibson, Mary, 108
Gibson, Michael, 358, 361,
466
Gibson, P.J., 424
Gibson, William, 4, 17, 101,
345
Gideon, David, 424
Gierasch, Stefan, 354
Giesenschlag, Russell, 333
Gifford/ Wallace, Inc., 357
Giglio, Allison, 84
Gilbert, Ilsa, 424
Gilbert, John, 110
Gilbert,W.S., 32, 37,72, 119,
330, 396, 399, 432
Gilborn, Steven, 105
Gilchrest, Cecilia, 400
Gilded Cage, The, 432
INDEX
515
Gile, Bill, 415
Giles, LeeRoy, 420
Gilford, Jack, 381
Gill, Bob, 342
Gill, Brendan, 462
Gill, Elijah, 338
Gill, Ray, 404
Gill, Teri, 338
Gill & Rabinowitz, 342
Gilles, John Ivo, 82, 89
Gillette, Cynthia, 374, 391
Gilpin, Jack, 27, 116, 404,
423
Gilpin, Leon H., 79
Gilroy, Frank D., 414
Gilwood, Deborah, 375
Gin Game, The, 82, 103, 105,
107, 109, 110
Gindi, Roger Alan, 404
Ginsberg, Jeflf, 84, 106
Ginza, Joey, 1 14
Gionson, Mel D., 423
Giordano, Tony, 85, 97, 98,
115, 116
Giovanni, Paul, 102, 116, 443
Giraud, Maurice, 354
Girl of the Golden West,
The, 110
Gisondi, John, 421, 428
Gisselman, Gary, 94, 113,
114
Gitter, Chaim, 426
Gitto, George, 105
Gjelsteen, Karen, 71
Glass, Philip, 421
Glass Menagerie, The, 73,
85, 93, 94, 467
Glasser, D. Scott, 106
Glaze, Andrew, 415
Glazer, Peter, 380
Gleason, Joanna, 88
Gleason, John, 386
Gleason, Paul, 95
Glenmore, Ralph, 438
Glenn, Scott, 345
Glenn-Smith, Michael, 444
Glines, John, 331, 462
Glines, The, 431
Glover, Danny, 446
Glover, John, 97, 348, 371
Glover, William, 462
Glowacki, Janusz, 434
Gluck, Cookie, 467
Glynn, Carlin, 425
G'night Mother, 76
Goad, Stacia, 427
Godfrey, Jerry, 357
Gods, The, 110
Godwin, Stephen J., 73
Goethe, 35
Goetz, Louise, 106, 107
Goetz, Peter Michael, 89,
336, 354
Goetzinger, Mark, 431
Goff, Tina Marie, 69, 70, 71
Gohr, Deb, 388
Going, John, 69, 77, 86, 113
Going Steady and Other Fa-
bles of the Heart, 432
Going to See the Elephant,
62
Gold, Benita, 424
Gold, David, 352
Gold, Lloyd, 78
Goldberg, Dick, 86
Goldberg, Steven K., 365
Goldby, Derek, 118
Goldemberg, Rose Leiman,
62
Golden, Ardyss L., 387
Golden, Mary Francina, 110
Golden, Norman, 429
Golden, Toni, 80
Goldfarb, Sidney, 417
Golding, Michael, 418
Goldman, Harris, 1 1 1
Goldman, James, 103
Goldman, Lorry, 403
Goldoni, Carlo, 94, 422
Goldsmith, Merwin, 353
Goldsmith, Oliver, 38, 75,
115
Goldstaub, Mark, 333
Goldstaub, Paul, 94
Goldstein, David Ira, 106
Goldstein, Jess, 99, 100, 380,
382
Goldstein, Seth, 76
Golub, Peter, 417, 425
Gomes, Rob, 95
Gondoliers, The, 37, 396-432
Gonzales, Keith, 417
Gooch, Bruce, 69, 70, 71
Good, 3,6,7,8,9, 11, 12, 22,
67, 341, 458, 460
Good Life, The, 424
Good Old Boys, 92
Goodbye Freddy, 82
Goodbye Goodbye, 477
Gooding, David, 79
Goodman, David, 81
Goodman, Douglas F., 371
Goodman, Gerry, 68
Goodman, Jeff, 1 16
Goodman, John. 382
Goodman, Lisa, 380
Goodman, Mark, 105
Goodman, Matthew, 359
Goodman, Robert E., 93
Goodman, Robyn, 43, 425
Goodman Theater, 76, 77,
357, 392
Goodnight, Grandpa, 25, 30,
403
Goodnight Ladies!, 421
Goodrich, Frances, 98
Goodstein, Gerry, vii
Goodwin, Lynn, 385
Goodwin, Philip, 405, 406
Goodwin, Richard R., 73
Gordean, Meg, 337
Gordon, Carl, 419
Gordon, Denise A., 416
Gordon, Diane, 1 18
Gordon, Don, 108
Gordon, Keith, 387, 429
Gordon, Mack, 370
Gordon, Peter, 424, 425
Gordon, Robert, 74
Gordon, Stephanie, 365, 413
Gordon, Stuart, 466
Gordone, Leah Carla, 375
Gordy, Alison, 427
Gorelick, Gregory, 82
Gorilla, 77
Gorky, Maxim, 98
Gorman, Michael, 440
Gorman, Pat, 350
Gorn, Steve, 417
Gorshin, Frank, 348
Gospel According to Al,
The, 433
Goss, Robert, 442
Gossett, Mitchell, 392
Gossett, Robert, 402, 403
Gotham, Jerry, 397
Gotlieb, Ben, 92
Gough, Anneke, 416
Gould, Connie, 69
Gould, Harold, 89, 107
Gould, Martin, 334
Gould, Peter David, 385
Gould, Richard. 80
Gould-Rubin. John. 422
Govan. Michael. 114
Government Man, The, 93
Gowan, Katherine, 374
G.R. Point, 38
Graae, Jason, 400
Grace. Ginger. 394. 395. 396
Grace, Jason, 400
f
516
INDEX
Grace, Michael L., 400
Grace, Wayne, 81
Graden, David, 400
Graebner, Grubb, 29, 385
Grafenstine, Stephen, 417,
418
Graff, Lillian, 414
Graham, Ann, 108
Graham, Boyd, 373
Graham, Deborah, 400
Graham, Elain, 115
Graham, Gordon, 84
Graham, Robert, 86
Graham, Stephen, 404
Graham, Wray Steven, 88
Grainger, Tom, 432
Grammer, Kelsey, 97, 388,
403
Grammis, Adam, 438
Granata, Don, 73
Granata, Marcy, 353, 361
Grandison, Earl, 357
Grandison, J. Hamilton, 417
Granger, Percy, 42, 413
Grant, David Marshall, 97,
116
Grant, Micki, 338
Grant, William H. Ill, 87,
402
Grantham, Ken, 419
Grant-Phillips, John, 76
Grate, Gail, 94
Graves, Yolanda, 412
Gray, Amlin, 86, 100
Gray, Harold, 329
Gray, John, 87, 104, 107
Gray, L. Michael, 338
Gray, Malcolm, 421
Gray, Simon, 3, 4, 24, 95, 97,
229, 231, 235, 403
Gray, Spalding, 44, 77, 89
Gray, Tamu, 107
Grayson, Arlene, 332, 355
Grayson, Lee, 385
Grayson, Milton B. Jr., 357
Graziano, Stephen, 373
Grease, 431
Great Confession, The, 423
Great Lakes Shakespeare
Festival, 80
Great Magoo, The, 85
Great Moments From the
Good Book, 424
Greater Tuna, 25, 27, 31, 86,
388
Greatest Day of the Century,
The, 427
Gredy, Jean-Pierre, 17, 88,
346
Greek, 467
Greek Theater of New York,
431
Greeks, The, 110
Green, Adolph, 4, 18, 338,
462
Green, Al, 338, 462
Green, Diana, 354
Green, Elvira, 357
Green, Ghanniyya, 432
Green, Joel E., 72
Green, Mawby, 102
Green, Reuben, 91, 420
Green, Stanley, vii, 435
Green, Susan, 374, 390, 391
Green, T. R., 82
Green Apples, 424
Green Grow, The, 1 1 7
Greenberg, Barry, 427
Greenberg, Dan, 329
Greenberg, Edward M., 413,
415
Greenberg, Jan, 345
Greenberg, Mitchell, 400
Greenberg, Rocky, 77
Greene, Ellen, 30, 376, 377,
446
Greene, James, 344
Greene, Jessie B., 385
Greene, Richard, 100
Greene, Tom E. Ill, 385
Greenfield, Debra, 376
Greenhill, Susan, 415
Greenwich House Theater,
431
Greenwood, Jane, 7, 97, 336,
348, 390, 406
Greer, Dallas, 87
Greer, Michael, 362
Gregg, Jess, 429
Gregg, Susan, 419, 420
Gregorio, Rose, 349
Gregory, Andre, 404
Gregory, Michael Scott, 449
Gregory, Virginia, 443
Gregson, Joan, 117
Greiss, Ellen, 397, 398
Grenoldo, 412
Greth, Roma, 426, 427
Grey, Clifford, 112
Grey, Jennifer, 434
Griffin, Nonnie, 118
Griffin, Sean, 111, 336
Griffith, Barry, 105
Griffith, Edward D., 428
Griffiths, Trevor, 418
Griboff, Debra, 370
Grier, David Allen, 448
Grifasi, Joe, 98
Grimaldi, Dennis, 414
Grimes, Frank, 80, 383
Grimes, Jerry, 342
Grimes, Tammy, 95, 444
Grimm, 44
Grimwood, Freddie, 118
Grizzard, George, 98
Grodenchik, Michael, 84
Grodner, Suzanne, 110
Grody, Kathryn, 391
Groener, Harry, 107, 340,
462
Grollman, Elaine, 433
Gropman, David, 77, 89, 346
Grosbard, Ulu, 33, 341
Gross, Michael, 445
Gross, Theodore, 1 1 1
Grossbecks, 424-425
Grossman, Bill, 341
Grossman, Henry, vii
Grossman, Larry, 18, 31,
338, 400, 462
Grout, Donna, 1 10
Grove, Barry, 371, 418
Grove, Betty Ann, 352
Grove, Gregory, 102, 341
Grove, Rick, 97
Groves, Robin, 92, 98
Groves of Academe, The,
380-382
Growing Up Gothic, 476,427
Grown Ups, 89
Gruenewald, Thomas, 68, 74,
80, 105, 419, 420
Grumberg, Jean-Claude, 433
Grund, Francoise, 417
Gruntz, George, 416
Grupo Contadores de Es-
torias, 430
Guardino, Jerome, 113
Guardino, Lawrence, 431
Guardsman, The, 95, 467
Guare, John, 77, 100, 464
Guenther, James, 107
Guettel, Henry, 40
Guidote- Alvarez, Cecile, 417
Guilfoyle, Paul, 77, 418
Gumpper, Ann E., 93
Gun City, 425
Gunter, John, 348, 359, 390,
463, 465
Gunton, Bob, 8, 12,365,377,
390, 442
INDEX
517
Gut, Edwin, 414
Gurney, A.R. Jr., 4, 27, 74,
76, 79, 84, 86, 87, 100, 107,
I 109, 110, 369, 385, 387,
404
Gurney, Rachel, 78
Gussow, Mel, vii, 26, 42, 234,
458, 459, 465
Gustafson, John, 375
Gustin, Richard, 88
Guthrie Theater, 35, 38, 94,
344
Gutierrez, Anna Marie, 117,
414
Gutierrez, Gerald, 107, 408,
423
Guttman, Felix, 82
Guttman, Meg, 420
Guttmann, Karl, 82
Guyer, Murphy, 91, 92
Guzaldo, Joseph, 76
Gwillim, Jack, 82
Gwillim, Sarah-Jane, 106
Gwynne, Fred, 112, 348
Gym Rats, 419, 466
Haas, Karl, 92
Haas, Nathan, 111
Haas, Tom, 87, 88
Haatainen, Tina, 90
Haber, Carl, 376
Haber, Edythe, 428
Haber, Martin, 403
Habitual Acceptance, The,
92
Habitual Acceptance of the
Near Enough, The, 92
Hack, Steven, 340
Hackady, Hal, 31, 400
Hackett, Albert, 98
Haddow, Jeffrey, 71, 73, 89
Haddow, Maya, 89
Haden, Jeffrey, 84
Hades for Some Is the Red
Dog Saloon, 424
Hagerty, Julie, 408
Haggard, Paul, 345
Haggart, Bob, 329
Hague, Daydrie, 86
Hahn, Jessica, 85, 384
Haig, Peter, 80
Hailey, Oliver, 432
Haimes, Todd, 35, 383
Haimson, George, 104
Hajj, 43, 421, 464, 465
Halbrich, Hugo, 423
Haley, Donna, 354
Haley, Jackie Earle, 353
Half a Lifetime, 380-382
Hall, Adrian, 63, 102, 103
Hall, Alan, 347, 364
Hall, Amelia, 118
Hall, Bernard, 403
Hall, Bruce, 86
Hall, Carol, 329
Hall, Davis, 414
Hall, Ed, 103
Hall, Eric, 422
Hall, George, 75, 390, 429
Hall, Georgine, 335
Hall, Mollie, 436
Hall, Peter, 90
Hall, Phil, 333
Hall, Robert, 419
Hall, Sands, 107
Hall, Steven F., 429
Hall, Thomas R., 107
Hall, William Jr., 100
Hallak, Robert, 413
Halleck, Ned, 117
Haller, Tobias, 428
Hallow, John, 348
Halter, Gerald, 75
Halverson, Richard, 79
Hamacher, Al, 71
Hambleton, T. Edward, 29,
38, 396
Hamill, Mark, 436
Hamilton, Ann, 102
Hamilton, Dan, 104
Hamilton, Frank, 382
Hamilton, Irene, 341
Hamilton, James, vii
Hamilton, Lawrence, 357
Hamilton, Mitzi, 437
Hamilton, Patrick, 107
Hamilton, Stephen, 72
Hamilton, William, 359
Hamlet, 7, 29, 35, 70, 101,
112, 388-391
Hamlin, George, 390
Hamlin, Harry, 101
Hamlin, Jeff, 351
Hamlisch, Marvin, 329
Hammer, Mark, 1 14
Hammerstein, James, 413
Hammerstein, Oscar II, 32,
33, 101, 359, 370, 396.
399
Hammock, Marianne, 71
Hammond, David, 97, 98
Hammond, Dorothea, 114
Hample, Stuart, 100, 105
Hampton, Christopher, 85
Hanan, Stephen, 11, 340, 462
Hanauer, William, 431
Hand, John, 337
Handler, Andrea, 350
Handler, Evan, 75. 382
Handman, Wynn, 412
Handwerger, Neil, 103
Handwerger, Roshi, 375
Handy, John, 355
Haneline, Thom, 105
Haney, Michael, 80
Hanff, Helene, 17, 344
Hanket, Arthur, 106
Hankins, Michael, 78
Hanly, Therese, 418
Hannah, 25, 30, 370
Hanning, Geraldine, 431
Hansbury, Lorraine, 75
Hansen, Larry, 360
Hansen, Peggy, 387
Hansen, Randy, 360
Hanson, Andy, vii
Hanson, Charlie, 410
Hao, William, 423
Happy Birthday, Wanda
June, 414
Happy End, 73
Happy Father's Day, 425
Happy Worker, 92
Harada, Ernest, 94
Harbach, Otto, 396, 399
Harburg, E.Y., 77
Hard Werken Netherlands
Association, A, 417
Harden, Richard, 424
Harder, James, 414
Hardie, Raymond, 74
Harding, Jan Leslie, 98
Hardman, Chris, 44
Hardstark, Michael, 431
Hardwick, Cheryl, 354, 418
Hardwick, Mark, 330, 427
Hardy, Joseph, 107
Hardy, Lawrence, 405
Hardy, Marsha, 81
Hardy, William, 100
Hare, David, 3, 7, 11, 23, 98,
348, 388, 390, 426, 458,
462
Hare, William, 384. 403
Harelik, Mark, 107
Hargrove. Brian, 381. 429
Harker, James, 349
Harlekyn U.S.A. Company,
344
Harley, Margot, 392, 405,
409
518
INDEX
Harmon, Jennifer, 72, 372,
383
Harmon, Peggy, 377
Harnagel, John, 98
Harney, Ben, 442
Harnick, Sheldon, 111
Harold Clurman Theater,
370, 385, 431
Harper, Charles, 365
Harper, Gloria, 427
Harper, James, 94, 408, 409
Harper, Lee, 71
Harper, Olivia Virgil, 402
Harper, Wally, 361, 404
Harper, William, 77
Harrell, Hugh II, 420
Harrelson, Helen, 75, 355
Harres, Michael, 419
Harrington, Charlene, 352
Harrington, Delphi, 94
Harrington, Margaret, 427
Harrington, Nancy, 392
Harris, Alison, 101
Harris, Arthur, 358
Harris, Aurand, 79
Harris, Baxter, 381
Harris, Bill, 420
Harris, Cynthia, 366, 440
Harris, Ed, 387
Harris, Gary, 372, 402
Harris, Gussie, 431
Harris, James Berton, 79
Harris, Jeremy, 371
Harris, John-Neil, 431
Harris, Joseph, 338
Harris, Joyce, 69
Harris, Julie, 106
Harris, Lloyd, 399
Harris, Michael, 432
Harris, Niki, 361
Harris, Richard, 437
Harris, Shirley, 73
Harris, Skip, 347
Harrison, Llewellyn, 420
Harrison, Paul Carter, 29,
372
Harrison, Sally Kos, 110
Harry, Deborah, 359
Harry, Jackee, 420
Hart, Adam, 412
Hart, Avery, 414
Hart, J. Richard, 438
Hart, Jerry, 379
Hart, Lorenz, 22, 32, 76, 87,
95, 352
Hart, Moss, 32, 34, 68, 87,
355
Hart, Roxanne, 9, 12, 98,
365, 462
Hartenstein, Frank, 347
Hartford Stage, 85, 342
Hartinian, Linda, 421
Hartland, F.J., 424, 425
Hartley, Dori, 427
Hartley, Susan, 361
Hartman, Karen, 399
Hartman, Lynne M., 104
Hartman Theater, The, 1 1 1
Hartney, Joseph, 404
Hartwell, Peter, 390
Hartzell, Eugene, 427
Harum, David O., 405, 406
Harum, Eivind, 439
Harvey, Cameron, 82
Harvey, Jane, 434
Harvey, Peter, 372, 384
Harwood, C. William, 357
Harwood, Ronald, 77, 80, 82,
103, 110
Haskell, Judith, 105
Hasnain, Arif, 105
Hastings, Edward, 109
Hastings, John, 404
Hastings, Michael, 396
Hasty Heart, The, 92
Hatcher, Robyn, 418, 419
Hatfield, Ken, 354
Hathaway, Daniel, 80
Hatten, Tom, 437
Haugen, Kristine, 113
Hauser, Lucille, 424
Hausman, Elaine, 391
Havard, Bernard, 71
Havard, Lezley, 72, 92
Have You Anything to De-
clare?, 107
Have You Seen Sean?, 424
Haveman, Wendelien, 417
Havens, Neil, 86
Havens, Sam, 87
Haven't a Clue, 103
Havergal, Giles, 115
Havoc, June, 436
Hawkanson, David, 113
Hawkins, Ira, 448
Hawkins, Steven, 118
Hawkins, Trish, 349, 413
Hawkins, Yolanda, 374
Hawkins, Yvette, 420
Hawthorne, James, 418
Hay, David, 108
Hay, Richard L., 71
Hay, Rosemary, 422
Hay Fever, 69, 88, 89
Hayashi, Marc, 423
Hayden, James, 349
Hay den, Jeffrey, 384
Hayenga, Jeffrey, 88
Hayes, Catherine, 28, 380
Hayes, John, 118
Hayman, Carole, 390
Hayman, Jill, 79
Hayn, Sybille, 417
Haynes, Tim, 84
Hays, Stephen E., 116, 117
Hazard, Joyce, 392
Haze, Ralf Paul, 338
Head, Helaine, 357
Headley, Glenne, 402, 466
Heald, Anthony, 97, 341,
372, 403
Healy, Christine, 107, 110
Heard, Cordis, 76, 428
Heard, John, 360
Hearn, George, 338, 348, 462
Heartbreak House, 94
Hebert, Julie, 387
Hebert, Rich, 342
Hecht, Ben, 85, 103, 111
Hecht, Lawrence, 109
Heck, Bob, 424
Hedda Gabler, 68, 69, 106
Hedrick, Nils, 442
Hedwall, Deborah, 401
Heebner, Emily, 81
Heefner, David Kerry, 365,
415
Heffernan, Audrey, 68
Heflfernan, John, 347
Heffernan, Maureen, 409
Heffernan, Tracy, 411
Heggie, Femi Sarah, 372, 403
Heide, Annette, 390
Hein, Keith, 87
Heineman, Laurie, 403
Heins, Anna, 82
Heintzman, Michael, 114
Heist, Karl, 377
Heitz, Gary, 467
Held, Dan, 429, 430
Helgeson, Timothy, 117
Heller, Adam, 431
Heller, Annie, 424
Heller, Jayne, 432
Heller, Johnny, 84
Heller, Robert, 422
Helliker, Steve, 409
Hellman, Lillian, 71, 105
Hello and Goodbye, 97
Helm, Frances, 355
Helward, Dale, 86
INDEX
519
Hemeleers, Luc, 345
Hemenway, Audrey, 427
Hemming, Lindy, 359, 463
Hemsley, Gilbert V. Jr., 108,
357
Hemsley, Winston DeWitt,
438
Henderson, Cheryl, 425
Henderson, Jo, 1 16, 344, 404,
413, 428
Henderson, Luther, 69, 411
Henderson, Mary C, 462
Henderson, Russell, 82, 84
Henderson, Stephen McKin-
ley, 466
Hendren, Mark, 399
Hendrickson, Steve, 336
Henley, Beth, 4, 17, 89, 330,
341
Henley, Richard, 359
Hennequin, Maurice, 107
Hennessey, Nina, 400
Henning, Debby, 350
Henning, Doug, 19, 349, 350,
351
Henrickson, Benjamin, 107
Henritze, Bette, 72, 335
Henry, Cynthia, 338
Henry, Deborah, 437, 440
Henry, Gurcell, 357
Henry, Mary Pat, 421
Henry, O., 92
Henry IV, Part 1, 112
Henry Luhrman Associates,
363, 408
Henry V, 69
Hensel, Karen, 62
Henzel, Edward, 84
Herbert, Victor, 37, 399
Hercules and Friends, 110
Herman, Danny, 438, 439
Herman, Jerry, 71
Herman Van Veen: All Of
Him, 67, 344
Herndon, Jan Leigh, 437
Heron, Nye, 384
Herrick, Rhoda R., 358, 463
Herring, Zak, 84
Herringbone, 25, 29, 375,
466
Herrmann, Edward, 11, 348,
388, 462, 465
Hersey, David, 140, 340, 463,
465, 466
Hertzler, John, 78
Herz, Shirley, 362, 385, 408
Herzer, Martin, 354
Hesitate and Demonstrate
Company, 421
Hess, Elizabeth, 117
Hester, Billy, 101, 399
Hewes, Henry, vii, 462, 465
Hewett, Peggy, 376
Hewitt, Alan, vii, 366
Hewitt, Tom, 405, 406
Heyman, Barton, 419
Heymann, Jerry, 418
Heys, John, 425
Heyward, Dorothy and
DuBose, 357
Hibberd, Jack, 104
Hibbert, Alun, 118
Hibbert, Edward, 347
Hicken, Donald, 117
Hicken, Tana, 72, 87, 117
Hickey, Jane, 423
Hickey, William, 374
Hicklin, Walter, 373
Hicks, Laura, 114, 380, 408
Hicks, Leslie, 350
Hicks, Munson, 94, 336, 418,
432
Hicks, Peter W., 105
Hidden Parts, 419
Hiding Place, The, 103
Hieronymous, Richard, 384
Higgins, Dave, 92
Higgins, Michael, 366, 413
Hilboldt, Lise, 391
Hilferty, Susan, 77, 381
Hilferty, Swan, 88
Hilger, Richard, 105
Hill, Bobby, 338
Hill, Dianne Benjamin, 107
Hill, Eric, 93
Hill, Jayne, 408
Hill, Jeff, 92
Hill, Kenneth, 84
Hill, Susan McDaniel, 82
Hillgartner, James, 77
Hilliard, Ryan, 428
Hillin, Frances T., 371
Hilton, Margaret, 80
Himes, Eric, 430
Hines, Debbie, 400
Hines, Gregory, 448
Hines, Kay, 417
Hines, Maurice, 448
Hinkle, Vernon, 425
Hirsch, John, 118, 119
Hirschfeld, Al, vii
Hirschhorn, Joel, 333, 462
Hirschhorn. Larry, 414
Hirshfeld, Susan, 72
Hirson, Roger O.. 101
His Master's Voice, 419
History of the American
Film, A, 105
Hitchin', 73, 115
Hite, Michaele, 75
HiTech, 92
Hladsky, Barbara, 415
H.M.S. Pinafore, 37. 396-
399
Hoban, Julia, 425
Hobbs, Cecily, 391
Hobel, Mara, 351
Hobson, Anne Marie, 391
Hobson, I.M., 98, 364, 376
Hobson, Richard, 102
Hock, Robert, 418
Hodes, Bernard, 334
Hodes, Ryn, 426
Hodges, Dale, 391
Hodges, Patricia, 92
Hoeg, Catherine, 428
Hoenai, Eli, 420
Hoffman, Avi, 430
Hoffman, William M., 413,
433
Hoffmann, Jack, 77
Hofsiss, Jack, 360, 419
Hogan, Jonathan, 336, 413
Hogan, Susan, 117
Hokanson, Mary Alan, 419
Holamon, Monty Philip, 87
Holbrook, Hal, 391
Holcomb, Angela, 357
Holcombe, Gary, 436
Hold Me!, 71
Holden, Arthur, 433
Holden, Joan, 433
Holden, Vicki S., 110
Holder, Wilbert, 107
Holderness, Susan, 409
Holdup, The, 109
Holgate, Ron, 436, 444
Holiday, 95
Holkmann, Lisa D., 357
Holkmann, Loretta, 357
Holniker, Barry, vii
Holladay, Cleo, 68
Holland, Anthony, 413
Holland, Dorothy, 68, 97
Hollander, Jack, 427
Holliday, Jennifer, 441
Holliday, Kene. 366
Hollingsworth, Dawn, 85,
467
Hollis, Stephen, 95
Hollmann, Heidi, 93, 101
520
INDEX
Holly, Dianne, 108
Holly and the Ivy, The, 25,
35, 383-384
Holm, Celeste, 31, 89, 370
Holmes, Ann, viii, 46, 64
Holmes, George, 372
Holmes, M.L., 102
Holmes, Paul Mills, 377
Holmes, Ralph K., 390, 391
Holmes, Richard, 432
Holmes, Scott, 442
Holmes, Violet, 358
Holofcener, Lawrence, 102
Holt, Ednah, 354
Holt, Marion Peter, 73
Holtzman, Jonathan, 344
Holub, Jonathan, 102
Holy Ghosts, 86
Holzer, Jane, 392
Homa, John, 117
Home, 72, 86, 104, 115, 117
Homer, 87
Honce, Mimi, 94
Honda, Carol A., 423
Honegger, Gitta, 428
Hook, Cora, 427
Hook, Walter, 466
Hooker and the John, The,
424
Hooks, Robert, 89, 448
Hooters, 415
Hopkin, Jacob Mark, 360
Hopkins, Kaki Dowling, 82,
83
Hopkins, William, 433
Hopkinson, Francis, 370
Horan, Bob, 419
Horan, Bonnie, 93
Hermann, Nicholas, 109,
351, 371, 441
Home, Cheryl, 443
Home, Geoffrey, 111, 336
Home, J.R., 429
Home, Lena, 330
Home, Marjorie, 388
Hornish, Rudy, 117
Horowitz, Marc, 344
Horowitz, Murray, 69
Horrigan, Patrick, 362
Horsley, Jannet, 438
Horton, Geralyn, 424
Horton, Paul J., 117
Horvath, James, 333
Hoshour, Robert, 340
Hoskins, Jim, 105, 110
Hosmer, George, 68
Hoss Drawin', 419
Hostetter, Demian, 87
Hot Line, 77
Hot Lunch Apostles, 417
Hotchner, A.E., 428
Hotopp, Michael, 332, 404
Hoty, Dee, 444
Hoty, Tony, 77
Houdina, Mary Jane, 71, 351
Houghton, Katharine, 98
Houghton, Norris, 90, 110,
462
Hould-Ward, Anne, 95, 115
House, The, 466, 467
House of Ramon Iglesia,
The, 413
House of York, The, 98
Houseman, John, 37, 405,
409
Houston Astrodome, 30
Houston Grand Opera, 33,
359
How He Lied to Her Hus-
band, 383-384
How I Got That Story, 86,
100
Howard, Alan, 8, 11, 22,
341
Howard, Bette, 424
Howard, Cheryl, 363
Howard, David S., 110
Howard, Don, 100, 367
Howard, Ed, 27, 388
Howard, M.A., 404
Howard, Peter, 364
Howard, Richard, 114
Howard-Gibbon, John, 423
Howe, Michael, 437
Howe, Tina, 43, 425, 464,
466
Howell, Erik, 443, 444
Howell, Penny, 420
Howes, Lura Bane, 103
Howey, David, 341
Howlett, John, 349, 353, 361,
374, 378, 388
Hoxit, Linda, 333
Hoyle, Mary Lou, 83
Hoyt, J. C, 93
Hoyt, Lon, 342
Hoyt-Miller, Richard, 110,
432
Hubbard, Bruce, 33, 360
Hubbard, Elizabeth, 335, 364
Hubbard, Jane, 390
Hubert, Janet, 448
Hubert, Janet L., 340
Huddle, Elizabeth, 467
Huddleston, David, 95
Hudgins, Marilyn, 101
Hudson, Duffy, 336
Hudson, Ken, 84
Hudson, Rodney, 376
Hudson Guild Theater, 353,
365, 415
Huffman, Jon, 92
Hughes, Alice S., 93
Hughes, Allen Lee, 100, 115,
355, 421, 463, 465, 466
Hughes, Barnard, 16, 22, 349,
386
Hughes, Douglas, 380, 381,
382
Hughes, Laura, 85, 92, 413
Hughes, Michael, 100
Hughes, Michaela K., 352
Hughes, Paul D., 400
Hughes, Tresa, 381, 413
Hughie, 76
Hughley, Stephanie, 353
Huguely, Jay, 333
Hulce, Thomas, 95, 423
Hull, Jeff, 89
Hulswit, Mart, 335
Hume, Marylou, 333
Humleker, Richard, 400
Hummel, Karen, 417
Hummel, Mark, 351
Hummler, Richard, 458, 459
Humphrey, Robin, 88
Humphreys, Margaret, 88
Humphries, Olga, 424
Hunsinger, Tom, 359
Hunt, Betty Lee, 332, 352,
355, 365, 373, 403
Hunt, David, 428
Hunt, John, 431
Hunt, Kenna, 431
Hunt, Linda, 391
Hunt, Megan, 94
Hunt, Pamela, 68
Hunt, Sharita, 417, 426
Hunt, Suzy, 110
Hunt, Trey, 404
Hunt, William E., 432
Hunter, Holly, 92, 341, 441
Hunter, William Gregg, 342
Huntington Theater Com-
pany, The, 74
Hurd, Hugh L., 105
Hurdle, James, 82, 374
Hurlburt, Carolyn, 72
Hurley, John Patrick, 415
Hurley, Kevin, 427
Hurley, Patrick, 379
INDEX
521
Hurney, Kate, 432
Hurst, Christopher, 359
Hurst, David, 367
Hurst. LilHan, 423
Hurst, Mehssa, 100
Hurt, Mary Beth, 34, 89, 336,
441
Hurt, William, 374
Hurv/it, David, 431
Hussein, Waris, 336
Husted, Patrick, 93
Huston, Carla, 443
Hutchings, Geoffrey, 359
Hutchins, Janice, 109
Hutchinson, Jeffrey, 1 1 1
Hutchison. Daniel, 349
Hutson, Janice T., 357
Hutton, Betty, 436
Hutton, Bill, 445
Hylands. Scott, 82, 336
Hyles. Sonny, 425
Hyman, Earle, 97
Hyman, Phyllis, 448
Hymes, Virginia, 357
Hyslop, Jeff, 438
I Died Yesterday, 417
I Love You, I Love You Not,
42, 92. 414
I Ought To Be in Pictures,
68
I Want To Be an Indian, 92
I Won't Be Here Forever,
413
lacovino, Nick, 392
lannicelli, Kathie, 101
lATSE, 39
Ibanez, J.M., 416
Ibsen, Henrik. 19, 32, 37, 38,
68. 94, 97, 106, 337
Idiot's Delight, 20, 363
lerfino, Vincent, 1 18
If This Isn't Love, 431
Iglesias, Loida, 439
Iglewski, Richard S., 405, 406
Ihde, Marthe, 423
Ikeda, Thomas, 417
Ilo, Angelique, 438
I'm Good to My Doggies,
408
I'm Tired and I Want to Go
to Bed, 386-387
Imaginary Invalid, The, 81,
115
Imaginary Theater Company,
The. 106
Immorality Play, 71
Importance of Being Ear-
nest, The, 78. 107
Impromptu of Outremont,
The, 84. 113
In a Northern Landscape, 91
In Agony, 432
In Flight, 74
In Place, 413
In the Bag, 92
In the Beginning . . . Lucifer
... The Bible, 418
In the Belly of the Beast, 63
In the Country, 421
In the Sweet Bye and Bye,
75
Inclined to Agree, 44, 430,
465
Independent Study, 415
Indiana Repertory Theater,
87
Inferno, 420
Ingalls, James P., 76, 85, 111.
355, 423
Ingber, Mandy, 89, 354
Ingham, Barrie, 437
Ingham, Rosemary, 87
Ingram. Henry, 1 19
Ingram. Kate, 433
Ingram, Tad, 100, 377, 433
Inherit the Wind, 70, 77
Innaurato, Albert, 423
Inneo, Anthony. 439
Inner Station, The, 99
Innes, Laura, 91, 392
Innocents, The, 88
Inquisition, 42, 423
Inserts, 25. 29, 379
Insull, Sigrid, 69. 429
INTAR, 415. 431
Interart Theater, 415. 427
International Theater Insti-
tute, 42
Inuit, 69
lolanthe, 399. 432
lonesco, Eugene, 38, 434
Irizarry, Vincent, 385
Irons, Leslie, 431
IRT's Cabaret Theater. 88
Irving, Amy, 111, 436
Irving, George S., 32, 352,
447
Irwin, Bill. 369
Irwin, James, 80
Irwin. Tom. 467
Is Not, The, 84
Isackes, Richard, 75
Ishee, Suzanne, 360
Island, The, 466
Israel, Irving, 73
Isser, Edward R., 393
Istomin, Marta, 365
Italian Straw Hat, The, 466,
467
ITP Company, 89
It's Better With a Band, 25,
404
It's Only a Play, 44, 418
Ivanek, Zeljko, 89, 354, 440,
462
Ives, David, 99
Ives, Elizabeth, 380
Ivey, Dana, 97, 335, 403, 465
Ivey, Judith, 8, 14, 111, 345,
432, 462, 466
Izawa, Machiko, 420
Jablons, Karen, 437
Jacinta, 420
Jacker, Corinne, 27, 385, 413
Jackness, Andrew, 7, 14, 85,
97, 348, 423
Jacksina, Judy, 331, 347, 353,
359, 361, 385, 388, 400,
409
Jackson, Angela. 420
Jackson, Anne, 8. 16, 343
Jackson, Billie, 425
Jackson, David, 20, 361
Jackson, Gemma, 410
Jackson, Jerry, 333
Jackson, Leonard, 116, 419
Jackson. Nagle, 93, 101, 102
Jackson, Rufus E., 338
Jackson. Samuel L.. 115
Jacob, Abe. 334, 351
Jacobs, Allan, 432
Jacobs, Bernard B., 39
Jacobs. Jim, 431
Jacobs, M.R.. 373
Jacobs, Sally. 386
Jacobs, Sander. 360
Jacobson, JoAnne, 416
Jacobson. Nora, 420
Jacobson. Ruth, 432
Jacoby, Victor, 430
Jacques, Damien, 46, 60
Jacques Brel, 409
Jacques Brel Is Alive and
Well and Living in Paris,
409
Jade, 418
Jahi. Runako, 420
Jalenak, Jan. 428
James. Christina. 1 19
522
INDEX
James, Clifton, 360
James, E.L., 420
James, Elmore, 338
James, Henry, 88
James, Jessica, 432, 444
James, Julie, 1 1 1
James, Ken, 118
James, Linda, 338
James, Toni, 413
Jameson, Michael, 420
Jamieson, Joanne, 397
Jamison, Judith, 448
Jamison, Mary Edith, 397,
398
Janasz, Charles, 114, 115
Jane Avril, 25, 29, 372
Jane Eyre, 83
Jani, Robert F., 358
Janik, Ada, 111, 332
Jankowiak, Alice, 381
Janzen, Arthur, 1 18
Japan House, 431
Jarchow, Bruce, 392
Jared, Robert, 76, 85, 88, 100
Jarrell, Randall, 102
Jarrett, Bella, 87
Jarrett, Stephen, 414
Jason, Mitchell, 349
Jason, Robert, 432
Jasper, Zina, 429
Jay, Mary, 1 13
Jay, Michael, 365
Jay, Ricky, 374, 375
Jazz Poets at the Grotto, 44,
432
Jazz Set, 420
Jean Cocteau Reperory, 431
Jeeves Takes Charge, 3 1 , 409
Jefferies, Annalee, 341, 428
Jeffers, Robinson, 330
Jefferson, Rosetta, 420
Jeffrey Richards Associates,
341, 349, 352, 364, 378,
392, 400, 402, 403, 408,
409
Jeffries, Brad, 438
Jeffryes, Timothy, 374
Jellison, John, 113, 385
Jenkin, Len, 111, 426
Jenkins, Daniel, 91, 92
Jenkins, David, 89, 94, 97,
336, 360, 403
Jenkins, Ken, 92
Jenkins, Mark, 1 1 1
Jenkins, Paulie, 82, 90
Jenkins, Richard, 63, 95, 97,
103, 116
Jenkins, Sharon, 102
Jenner, James, 423
Jenney, Lucinda, 72
Jennings, Brent, 419
Jennings, Gary, 427
Jensby, Wesley, 416
Jensen, Don, 409, 428
Jensen, John, 77, 79, 87, 97,
99, 100, 356
Jensen, Julie, 402, 424
Jenson, Kari, 419
Jericevic, Dinka, 417
Jerome, Timothy, 429
Jerro, Steve, 432
Jeter, Michael, 440, 441
Jewell, John, 427
Jewell, Ron, 383
Jewett, Bob, 113
Jewish Repertory Theater,
431
Jiranek, David, vii, 392
Jo-Ann, Ebony, 392
Jochim, Keith, 102, 103
Joe Egg, 12
Joe Wolhandler Associates,
344, 355
Joglars, Els, 416
Johannes, Mark, 428
John, Andrew, 1 10
John, Flozanne A., 100
John F. Kennedy Center For
The Performing Arts (see
Kennedy Center)
John F. Wharton Award, 466
John Gassner Playwriting
Award, 466
John Hart Associates, Inc.,
370
John Springer Associates,
337
Johnny Got His Gun, 31,
375, 464
Johns, Patti, 62, 66, 81
Johnson, Bertina, 92, 93
Johnson, Bill, 432
Johnson, Charles, 418
Johnson, Chris, 107
Johnson, David Cale, 338
Johnson, David-Michael, 357
Johnson, Donald, 359
Johnson, Doug, 87
Johnson, Douglas, 429
Johnson, Eleanor, 424
Johnson, Gary Neal, 88
Johnson, Gregg, 89
Johnson, Gus, 433
Johnson, J. S., 72
Johnson, Jeff, 358
Johnson, Jocelyn, 97
Johnson, Kenneth La Ron,
427
Johnson, Knowl, 400
Johnson, Kurt, 429, 439
Johnson, Leavata, 357
Johnson, Lianne, 379
Johnson, Linda Lee, 1 14, 429
Johnson, Louis, 420
Johnson, Lynn, 371
Johnson, Marek, 111, 336
Johnson, Mary Lea, 338, 344
Johnson, Page, 355
Johnson, Reid G., 105
Johnson, Sy, 331
Johnson, Tommi, 338
Johnson, Trish, 91
Johnson, William, 86
Johnston, Donald, 359
Johnston, Nancy, 110
Joines, Howard, 332
Joint Stock Theater Group,
388, 391
Jolivet, Tyrone, 357
Jonathan, Brother, 414
Jones, B. J., 76, 83
Jones, Bill, 342
Jones, Carleton T., 438
Jones, Cherry, 76
Jones, Chris, 424
Jones, Craig, 421
Jones, David C, 103
Jones, David E., 365
Jones, Dorothy L., 357
Jones, Douglas, 74
Jones, Eddie, 382, 427, 431
Jones, Gary, 97
Jones, James Earl, 94, 446
Jones, Jane, 423
Jones, Janette Leslie, 397,
398, 399
Jones, Jay Aubrey, 371
Jones, Jeffrey, 377, 432, 441
Jones, Jen, 91
Jones, Jerry Allan, 85
Jones, Jessie K., 78, 90, 91
Jones, Jill, 71
Jones, John Christopher, 106
Jones, John-Frederick, 113
Jones, Kevin, 376
Jones, Kit, 424
Jones, Leilani, 376
Jones, Marvin, 68
Jones, Mary Sue, 82
Jones, Melvyn, 410
Jones, Neal, 80, 382
INDEX
523
Jones, Preston, 432
Jones, Reed, 333, 340, 355
Jones, Sabra, 347
Jones, Tom, 105, 369, 429
Jones, Vicki, 402, 420
Jones, Walton, 69, 98
Jones Beach Theater, 431
Jongerius, Gerard, 344
Joplin, Joneal, 106
Jordan, Clarence, 72
Jordan, Cynthia, 427
Jordan, Dale, 420
Jordan, David, 377
Jordan, Glenn, 1 1 1
Jordan, Henry J., 87
Jordan, Richard, 95
Jory, Jon, 90, 91, 92, 380
Joseph, Jeffrey, 416
Joseph, Judith, 425
Joseph and the Amazing
Technicolor Dreamcoat,
330, 445
Joseph Jefferson Awards, 466
Joseph Maharam Foundation
Awards, 465
Joslyn, Betsy, 95, 338, 443
Joslyn, Jay, 62
Josyph, Peter, 424
Jouannest, Gerard, 409
Joubert, Elsa, 29, 402, 466
Journey to Gdansk, 434
Journey's End, 113
Jovanovic, Dusan, 417
Joy, James Leonard, 75
Joy, Michael, 118
Joy, Robert, 377, 386, 413
Joyce, Kiya Ann, 94, 348
Joyce, Stephen, 336, 428
Joynt, Paul, 332
Jozwick, Tim, 106
J.P. PavaneUi, Ltd, 392
Judd, Melissa, 88
Judd, Robert, 116
Judge, Don, 409
Jujamcyn Theaters, 358, 463
Julia, Raul, 446
Julius Caesar, 69, 90, 118,
421
July, Jeane, 360
Jung, Philipp, 98
Jungle Coup, 77
Juniper Tree, a Tragic
Household Tale, The, 432
Juniper Tree, The, 44
Juno And The Paycock, 1 1 7
Jurosko, Keith, 432
Juzwak, Michael, 425
K2, 3,7,8,9,15.22,67,355,
462, 463, 465, 466
Kabuki Macbeth, 466, 467
Kafka, Franz, 89
Kahle, Bruce, 405
Kahn, Michael, 33, 348, 360,
415, 425, 463
Kahn, Muriel, 405
Kaikkonen, Gus, 105
Kajawara, Ron, 427
Kalcheim, Lee, 17, 74, 365,
415
Kalem, Ted, 458, 459, 460
Kalember, Patricia, 72
Kalfin, Robert, 44, 420
Kalish, Peter, 409
Kallish, Peter, 400
Kammer, Nancy-Elizabeth,
421
Kan, Lilah, 420
Kandel, Lenore, 329
Kander, John, 330
Kane, Kevin, 1 16
Kanin, Michael, 330
Kanter, David Robert, 81
Kantrowitz, Jason, 378
Kapen, Ben, 343
Kaplan, Darlene, 415
Kaplan, David, 369
Kaplan, Jack A., 424
Kaplan, Martin, 431
Kaplan, Steve, 418
Karasek, Valerie, 365
Karchmer, Charles L, 98,
414
Karel, Chuck, 371
Karen, Lynda, 360
Karfo, Robin, 419, 431
Karl, Alfred, 384
Karlin, Robert Lewis, 88
Karras, Demetra, 431
Kasarda, John, 105, 341, 359
Kase, Donald Walter, 357
Kasha, Al, 333, 462
Kasha, Lawrence, 333
Kaslan Productions, Inc., 333
Kasser, I. Michael, 392
Kates, Bernard, 87
Katsaros, Doug, 404
Katselas, Milton, 362
Katsulas, Andreas, 97, 98,
374
Katz, Leon, 97
Katz, Natasha, 80
Katz, Raymond, 345
Kauders, Sylvia, 332
Kaufman. Andy, 359
Kaufman, George S.. 32, 34,
44, 68, 87, 105. 355, 418
Kaufman, Jeffrey Howard,
371
Kaufman. Joel, 370
Kauffman, Kenneth, vii
Kava, Caroline. 386, 441
Kavanaugh, Richard, 102,
103, 372
Kay, Kenneth, 110
Kayahara, Lauren, 439
Kaye, Anne, 443
Kaye, Deena, 428
Kaye, Maria, 421
Kaye, Toni, 449
Kazan, Nicholas, 44, 432
Kazlowski, Linda, 94
Keal, Anita, 415, 416
Kearney, Lynn, 436
Keast, Grant, 359
Keathley, Adriana, 415
Keathley, George, 85
Keeffe, Barrie, 415
Keeler, Brian, 415, 448
Keeler, Fred, 431
Keeler, William, 69, 71
Keels, Jim, 420
Keen, Julie D., 104
Keep, Stephen, 82
Keeper, The, 98
Kehler, Jack, 431
Keil, Drew, 68
Keitel, Iris W., 357
Keith, Larry, 116, 430
Keith, Paul, 360
Keith, Warren, 75, 98, 415
Kekana, Fana, 402
Keller, Jeffrey, 364. 378
Keller, John-David, 81
Kellman, Alice, 424
Kellman, Barnet, 365, 415
Kellogg, Marjorie Bradley, 7,
97, 101, 106, 112,335,336,
345, 351, 401, 408, 429
Kellogg, Robert. 361
Kelly, Daren, 81
Kelly, David Patrick, 385
Kelly, Gene, 364
Kelly, George, 73
Kelly. Glen. 379
Kelly, Hubert B. Jr.. 420. 429
Kelly. Jack, 425
Kelly, Joseph. 431
Kelly, Kate. 68
Kelly, K.C., 426
Kelly, Kevin, 462
Kelly, Martha, 88
524
INDEX
Kelly, Pat, 384
Kelly, Paula, 448
Kelly, Rory, 110
Kelly, Terence, 118
Kelly, Thomas, 353
Kelly, Tricia, 391
Kemler, Estelle, 403
Kemp, Sally, 89
Kempf, Art, 424
Kempf, Kathryn, 344, 355
Kempinski, Tom, 35, 84, 118,
383
Kenan, Dolores, 420
Kendall, Joan, 388
Kendrick, Henry, 113
Kennedy, Jimmy, 69
Kennedy, Laurie, 89
Kennedy, Mimi, 89
Kennedy, Tara, 371
Kennedy, William, 420
Kennedy Center, 6, 33, 334,
337, 343, 345, 349, 352,
359, 363, 365, 366, 462,
463
Kenneth-Mark Productions,
359, 360, 462
Kennett, David, 103
Kennon, Skip, 375, 376
Kenny, Jack, 405, 406
Kent, Elana, 62
Kent, Steven, 382, 418
Kepros, Nicholas, 419
Kercher, Amanda, 370
Kern, Dan, 81
Kern, Jerome, 32, 33, 359
Kerner, Norberto, 423
Kerr, Charles, 117
Kerr, E. Katherine, 12, 365,
440
Kerr, Philip, 106
Kerr, Tom, 117
Kerr, Walter, 431, 459
Kerry, Ann, 100, 436
Kerry- White, Claude, 346
Kershaw, Whitney, 340
Kerwin, Shawn, 85
Kerzman, Robert, 333, 354,
408
Kesselman, Wendy, 42, 44,
71, 92, 117, 414, 419, 432
Kessler, Beate, 421
Kestrel, The, 414
Ketron, Larry, 42, 73, 429
Kevin, Michael, 70, 71
Key, Tom, 72
Key and the Wall, The, 424-
425
Key Exchange, 42, 79, 92
Keyes, Stanley, 428
Keyes, Steven, 419
Keys, Henson, 103
Keysar, Franklin, 341, 365
Khanzadian, Anita, 427
Khouri, David, 418
Kid Purple, 419
Kid Twist, 426
Kidd, Michael, 334
Kiehl, William, 78
Kiel, Sue, 89
Kilburn, Terence, 105
Kiley, Julia, 431
Kilgarriff, Patricia, 76, 85,
356
Kilgo, Kerstin, 91, 105
Kilian, Leslie Ann, 421
Killian, Phil, 444
Killmer. Nancy, 347
Kilmer, Val, 353
Kilty. Jerome, 109
Kimball, Jon, 101
Kimball, Wendy, 411
Kimbell, Jon, 101
Kimberley, Michael, 347
Kimbrough, Charles, 441
Kimbrough, Linda, 76, 392
Kimbrough, Matthew, 105,
117
Kimmel, George, 91
Kindl, Charles, 392
Kindness of Strangers, The,
102
King, Alice, 418
King, Anne, 348, 390
King, Catherine, 110
King, Donna, 340
King, Floyd, 115
King, Kimberly, 73
King, Larry L., 329
King, Robert, 118
King, WoodieJr.,44, 79, 104,
117
King Street Production, 361
Kinghorn, Deborah, 84
Kinghorn, Jeffrey, 82, 84
Kingsley, Barbara, 106, 107
Kingsley, Susan, 91, 341
Kinney, Alex, 73
Kipp, Kelle, 365
Kirby, Roger, 397, 398, 399
Kirk, Alyson, 436
Kirk, William, 84
Kirkpatrick, Sam, 108
Kirksey, Diane, 429
Kirkwood, James, 329
Kirkwood, Neal, 417
Kirschner, Ann, 398, 399
Kirschner, Jan, 432
Kirwin, Terry, 400
Kisicki, James P., 79
Kismet, 466, 467
Kissel, Howard, 458, 459,
460
Kitrell, Anthony, 79
Kitrell, Lisa, 79
Klaris, Lorin, 331
Klatscher, Laurie, 429
Klausner, Terri, 418, 442,
449
Kleban, Edward, 329
Klein, Allen, 356
Klein, Alvin, 460
Klein, Amanda J., 421, 428
Klein, Kathleen, 105
Klein, Lauren, 97, 98
Klein, N.A., 104
Klein, Neal, 393
Kletter, Debra J., 373
Kliban, Ken, 365, 413, 418,
419
Kliewer, Warren, 419
Kline, Kevin, 116, 447
Kline, Linda, 431
Klinger, Pam, 438
Klonsky, Kenneth, 431
Klotz, Florence, 339
Klucevsek, Guy, 417
Kluga, Raymond, 426
Klunis, Tom, 337, 348, 390,
429
Kmeck, George, 352
Knapp, Jacqueline, 422
Kneeland, Richard, 102, 103
Knell, Dane, 92
Knepper, Rob, 88
Knickerbocker, Terry, 417,
418
Knife in the Heart, A, 116
Knight, Darwin, 104
Knight, Jeff, 444
Knight, Martha, 344
Knight, Shirley, 1 1 1
Knights Errant, 431
Knower, Rosemary, 73
Knowlton, Warren, 354, 377,
384, 401
Knox, Kerro III, 80
Kobart, Ruth, 114, 436
Kocevar, Rudy, 425
Koch, David Hunter, 110
Koch, George, 431
Koch, Howard, 109
I
INDEX
525
Koch, William, 414
Koeberl, Chris, 88
Koehler, D.W., 375
Koenig, Delia, 401
Koldewyn, Richard, 73
Kolins, Howard, 372
Kolinski, Joseph, 364
Koltes, Bernard-Marie, 417
Kondoleon, Harry, 106, 380,
465
Kook, Edward P., 465
Koons, Jon, 362
Kopache, Thomas, 73, 431
Kopit, Arthur, 33,38,71,72,
107, 331, 337
Koppelman, Charles, 342
Kopytman, Mark, 370
Korda, Casey, 418
Korda, Margo, 343
Korder, Howard, 371
Korey, Alexandra, 376
Korkes, John, 432
Kornberg, Richard, 348, 374,
378, 388
Kornfeld, Eric, 424
Kornfeld, Lawrence, 97
Koron, Barry, 413
Kosek, Ken, 344
Kostal, Irwin, 334
Kostmayer, John, 65
Kotlisky, Marge, 78, 392
Kotlowitz, Daniel, 94
Kotze, Sandra, 29, 402
Kourilsky, Francoise, 417,
421
Koustik, Art, 81
Kowal, James, 87
Kowal, Marsha, 77, 392
Kozlowski, Linda, 75, 367
Kraft, Barry, 69
Kramer, James, 92
Kramer, Joel, 353
Kramer, Laura Shapiro, 353
Kramer, Renee, 399
Kramer, Sherry, 419
Krane, David, 393
Krapp's Last Tape, 37, 405-
406
Kraus, Chris, 427
Kraus, Rae, 384
Krauss, Arnie, 1 13
Krauss, Marvin A., 350, 351,
462
Krawford, Gary, 443
Krawitz, Patricia, 345
Krawitz, Seymour, 345
Krebs, Eric, 409
Kreiger, Sara, 415
Krempel, Joyce, 92
Kreshka, Paul, 375
Kreshka, Ruth, 382
Kress, Ronna, 405, 406
Kreutzer, Leah, 370
Krichels, Andrew, 370
Krieger, Henry, 330
Kristien, Dale, 360
Krleza, Miroslav, 432
Kroetz, Franz Xaver, 417
Kroll, Jack, 235, 459
Krone, Marc, 421
Kronenberger, Louis, vii
Krones, Fred H., 331, 462
Kroschell, Jacqueline, 399
Kruhak, Damir, 417
Krupp, Jon, 420
Kryser, Robert, 357
Kuhlke, Kevin, 417, 418
Kuhlman, Ron, 438
Kuhn, Beth, 421
Kuhn, Bruce, 92
Kukla and Ollie Live!, 77
Kulukundis, Eddie, 345
Kupperstein, Gordon, 385
Kurland, Rachel, 75, 101
Kurowski, Ron, 440
Kurrelmeyer, Ellen, 398
Kurtenbach, Kenneth, 420
Kurth, Wally, 447
Kurtz, John Henry, 413
Kurtz, Kenneth N., 81
Kutiyattam, 430
Kutner, Michael, 423
Kux, William, 97
Kuykendall, Carol, 114
Kvares, Donald. 424
Kwiat, David M., 106, 107
Kyte, Mary, 68, 102, 376
La Belle au Bois, 428
La Fleur, Liliane, 446
La Mandragola, 73
La Pierre, Billings, 72
La Plante, Skip, 427
la Rochefoucauld,, 370
La Valle, Dennis, 394, 395,
396
Labad, Lutgardo, 417
LaBelle, Patti, 338
Laboissonniere, Wade, 352
Labor Theater, 431
LaBossiere, Bonita, 400
Lacey, Florence, 442
LaChance, Manette, 333
Lackey, Michael, 425
Lady and the Clarinet, The,
97
Lady Needs Protection, A,
424-425
Lady or the Tiger Show,
The, 30, 408
LaFaille, Michel, 344
Lage, Elizabeth, 432
Lagerfelt, Caroline, 74, 97,
403, 440
LaGioia, John, 1 17
LaGreca, Paul, 417
LaGue, Michael, 85, 86, 87
Lagueruela, Francisco, 107
Lahr, John, 89
Lahti, Christine, 95, 97, 335
Lakeboat, 467
Lakin, Gene, 80, 88, 426
LaMama Experimental Thea-
ter Club (ETC), 42, 44, 416
Lamanna, Mark, 364
Lamb, Mary, 108
Lambert, Beverly, 443
Lambert, Jonathan, 353
Lambert, Mikel, 115
Lambert, Steve, 81
LaMee, Margaret, 447
Lammel, Cynthia, 86
Lamos, Mark, 85
LaMott, Nancy, 404
Lancaster, Gerald, 102
Lanchester, Robert, 80, 102
Land, Ken, 377
Land, Morgan, 98
Land, Peter, 359
Land Breeze, A, 87
Landais, Aline, 417
Landau, Penny M., 404
Landau, Walter, 403
Landay, David. 333
Landesman, Heidi, 15, 76,
355, 375, 425, 465
Landfield, Timothy, 378
Landisman, Kurt, 387
Landon, Hal Jr., 81
Landon. John H., 84
Landon, Sofia, 100
Landrum, Baylor, 77
Landrum, Michael, 100
Landwehr, Hugh, 73. 75, 94.
97, 111. 349
Lane, Janice C, 402
Lane, Lawrence, 331. 462
Lane, Nancy, 438
Lane, Nathan, 335, 350
Lane, Stewart F., 359
Lane, William. 103
I
526
INDEX
I
Lang, Barbara, 338
Lang, Stephen, 100, 113, 370
Lang, Tony, 432
Langella, Frank, 8, 12, 365,
435
Langford, Judy, 71
Langham, Donna, 76
Langham, Michael, 109, 119
Langner, Christine, 340
Langsdale, Keith, 72
Lanka, Sylvia, 397, 398, 399
Lankford, Catherine, 399
Lansbury, Angela, 8, 17, 88,
346
Lansky, Milton, 430
Lapine, James, 375
LaPlante, Francois, 118
LaPlante, Skip, 1 14, 416, 418
Lardner, Ring Jr., 330
Large, Norman A., 338, 339
Larkin, David, 399
Larkin, Robert W., 365
Larkins, Grady, 76
LaRocco, Rob, 404
LaRocque, Dan, 86
LaRoe, Betty, 428
Larrance, John C, 69
Larsen, Lori, 1 1 1
Larsen, Ray, 360
Larson, Cathy, 71
Larson, Jill, 418
Larson, Larry, 71, 72
Larson, Peter, 361
Larson, Susan, 76
Lasser, Brian, 403
Last Looks, 72
L'Atelier, 433
Latessa, Dick, 376
Latimer, Ken, 88
Latouche, John, 114
LaTourette, Charles, 424
LaTulip, Brian, 75
Lauck, Joe D., 84
Laufer, Sandy, 350
Laughlin, Sharon, 106
Lauren, Ellen, 93
Laurents, Arthur, 431
Laurio, Krisztina, 397
Lauris, Priscilla Hake, 69, 70,
71
Lauro, Shirley, 87, 95
Lavery, Emmet, 88
LaVigne, Robert, 111
Laville, Pierre, 77
Lavin, Ric, 374, 390
Lavin, Richard, 466
Lavon, Garrick, 411
Law, Alma H., 1 16
Lawder, Anne, 109
Lawless, James, 107
Lawless, Sue, 399, 430
Lawlor, Noel, 424
Lawner, Mordecai, 85
Lawrence, Darrie, 93
Lawrence, Delphi, 113
Lawrence, D.H., 29, 372
Lawrence, Howard, 444
Lawrence, Jack, 370
Lawrence, Jerome, 70, 71, 77
Lawrence, Peter, 342
Laws, Roberta Alexandra,
357
Layman, Terry, 418
Layne, Mary, 336, 372
Layton, Joe, 342
LaZaro, Margo, 427
Lazarus, Michael, 423
Lazarus, Paul, 417
Le Bourgeois Avant-Garde,
43, 425
Le Fevre, Adam, 422
Le Gallienne, Eva, 7, 34, 347
Le Massena, William, 105
Le Petit Mort, 415
Le Roux, Madeleine, 392
le Sourd, Jacques, 235
Le Treteau De Paris, 372
Leach, James, 431
Leach, William, 93
Lead Us Not Into Penn Sta-
tion, 415
League, 39
League Of New York Theat-
ers And Producers, 39, 466
League Of Off-Broadway
Theaters, 24
Leake, Damien, 102
Learned, Michael, 89, 112
Learned Ladies, The, 25, 35,
372-373
Leary, David, 415
Leary, Robin, 92, 433
Leask, Katherine, 114
Leatherman, Allen, 79
Leavel, Beth, 414
Leavell, Judy, 1 14
Lebowsky, Stanley, 340
Lebrecht, James, 378
Lecesne, James, 441
Lederer, Suzanne, 436
Lee, Baayork, 361, 439
Lee, CeUa, 434
Lee, Dayne, 427
Lee, Eddie, 71
Lee, Eugene, 29, 63, 103,
393, 402, 403, 429
Lee, Franne, 77, 342, 408
Lee, Jack, 361
Lee, Jeff, 351
Lee, Margaret, 117
Lee, Ming Cho, 7, 15,22,87,
115, 355, 463, 465, 466
Lee, Paul, 79
Lee, Robert E., 70, 71, 77
Lee, Robyn, 350
Lee, Ronald S., 345
Lee, Wing, 98
Leeds, Lydia, 429
Leerhoff, Dick, 107
Lefrak, Francine, 360
LeFrak, Francine, 462
Legal Machine, The, 427
Leger, Viola, 118
LeGrand, Michel, 1 1 1
Lehar, Franz, 399
Lehman, Ross, 466
Lehmann, Jo Anna, 432
Lehrer, Scott, 401
Lehrer, Tom, 79
Leiber, Jerry, 329
Leibert, Michael, 73
Leigh, Susan, 106
Leighton, Betty, 71, 80
Leighton, Richard, 392, 418
Leipart, Charles, 414
Leishman, Gina, 76, 363
Leister, Johanna, 92, 348
Lemac, Linda, 358
Lemon, Amy, 428
Lena Home: The Lady And
Her Music, 330
Lencioni, Arlene, 68
Lennelle, Royce, 443
Lennon, 25, 29, 385
Lennon, John, 329
LeNoire, Rosetta, 355, 411
Lenoz, Adriane, 69
Lenthall, David, 106, 107
Lenz, Thomas, 394, 395, 396
Leo, Melissa, 374
Leon, Geoff, 403
Leon, Joseph, 392
Leon, Victor, 399
Leonard, Jim Jr., 81
Leonard, John, 365, 415
Leonardo, Joseph, 404
Leone, Vivien, 400
Lerner, Alan Jay, 4, 7, 20,
363, 364
Lerner, Neal Alan, 418
LeRoy, Zoaunne, 71
INDEX
527
Lei Belles Soeurs, 467
Lc*s Femmes Savantes, 35,
372
Les Romantiques, 105, 369
LeSeur, Porcina, 431
LeShay, David, 341, 346,
347, 357, 359, 360
Lesser, Gene, 100
Lesser, Sally, 113, 377
Lesson From Aloes, A, 82,
100
Lester, Betty, 371
'- Lester, Gwen, 420
Lester, Hugh, 115
Lester, Todd, 350
LeStrange, Philip, 105
Let's Start a Magazine, 417
Lett, Dan, 118
Letters From Prison, 63, 103
Levan, Martin, 340
Levels, Calvin, 95
Levene, Ellen, 372
\ Leventritt, Daniel, 417
Levey, John Frank, 89
Levi, Steven, 420
Levin, Aaron, 433
Levin, Ira, 101, 113
Levine, Anna, 75, 371
LeVine, Marilynn, 333, 348,
360
Levine, Peter, 424
Levinson, David S., 109
Levinson, Richard, 349, 462
Levit, Ben, 89, 376
Levitation, 413
Levitow, Roberta, 1 1 1
Levitt, Florence, 431
Levitt, Yetta, 71
Levy, Alan, 427
Levy, Bruce, 384
Levy, Jacques, 329, 347
Levy, Ned, 332
Levy, Owen, 338, 379
Levy/ Stein weiss Produc-
tions, 384
Lewine, Richard, 262
Lewis, Aide Jr., 361
L Lewis, Althea, 371
" Lewis, Bobo, 413
Lewis, C. S., 83
Lewis, Emmanuel, 375
Lewis, Garry Q., 449
Lewis, Gwendolyn, 115
Lewis, Irene, 430
Lewis, J. Barry, 400, 414
Lewis, Jenifer, 342, 404
Lewis, Karen L., 428
Lewis, Marcia, 436
Lewis, Matthew, 349
Lewis, Pamela, 75, 336
Lewis, Rick, 424
Lewis, Timothy, 424
Lewis, Vicki, 101, 400, 404
Lewitin, Margot, 415, 416
Li, Donald, 423
Liberation of Skopje, The,
417, 465
Liberatore, Lou, 386
Liberty, Richard, 81
Liberty Call, 420
Libin, Paul, 24, 334
Lichtenberg, Lonnie, 376
Lichtenstein, Todd, 362
Lichter, Kathy, 425
Lide, Miller, 344
Lieb, James, 418
Lieberman, Batia, 359
Lieberman, Rick, 374, 390
Lieberson, Dennis, 410, 424
Lieberson, Kenneth, 423
Lieberson, Will, 423, 424
Liepmann, Lise, 414
Lies and Secrets, 417
Life, Regge, 392
Life & Adventures of Nicho-
las Nickleby, The, 3, 80
Life and Times of Albert Ein-
stein, The, 89
Life Beneath the Roses, 424
Life Is Not a Doris Day
Movie, 25, 31, 373
Light, Karl, 102
Light Opera of Manhattan
(LOOM), 37, 396, 397,
398, 399
Liliom, 101
Lilly, Terry M., 355, 363,
365, 388, 404, 408
Limber, Chris, 106
Lincoln, Richard, 444
Lind, Jakov, 428
Lind, Oona, 376
Linden, Michael, 392
Lindley, Audra, 382
Lindo, Delroy. 94, 446
Lindsay, Eleanor, 82, 83, 84
Lindsay, Glenda, 418
Lindsay, Howard, 370
Lindsay, Phillip, 420
Lindsay, Priscilla, 87
Lindsey, Gene, 415
Lindsey, Jason, 1 18
Lines, Janice I., 76
Lines, Marion, 101, 103
Link, William, 349, 462
Linn, Bambi, 347
Linn-Baker, Mark, 73. 76,
377
Linnea, Sharon, 432
Linney, Romulus, 82, 86, 419
Linton, William, 444
Lion, the Witch and the
Wardrobe, The, 83
Lion in Winter, The, 103
Lion Theater Company, 418,
431
Lipman, Nicola, 1 18
Lippa, Louis, 414
Lipton, Michael, 392
Lisanby, Charles, 358
Liscow, Wendy, 79
Lish, Becca, 102
Litt, Richard, 421
Litten, Jim, 437
Litteral, Paul, 377
Little, Cleavon, 396
Little, David, 106, 429
Little, Eugene, 357
Little, Jason, 357
Little Family Business, A, 7,
17, 67, 88, 346
Little Me, 466, 467
Little Miss Fresno, 406
Little Night Music, A, 7 1
Little Orphan Annie, 329
Little Shop of Horrors, 4, 6,
7, 25, 30, 31, 41, 42, 376,
446, 458, 460, 466
Litwak, Jessica, 417, 418
Litwok, Ezra, 424
Litz, Robert, 84
Liverpool Everyman Thea-
ter, 385
Living Quarters, 434
Livingstone and Sechele,
369
Livitz, Barbara, 347, 349
Llosa, Mario Vargas, 415
Lloyd, Kathleen, 81
Lloyd, Sherman, 68. 400
Lloyd, Yolanda, 349
Lo Bianco, Tony, 8, 33, 349,
462, 466
Loadholt, Tony, 72
Loar, Rosemary, 355
Lobel, Adrianne, 7, 20, 22,
95. 361
Locarro, Joe, 350
Locke, Robert. 109
Locker, Philip, 105
Lockhart, Warren, 400
528
INDEX
Lockwood, Carole, 113
Lockwood, Gordon, 414
Lockwood, Sahron, 433
Lockwood, Vera, 98
Lodge, Kenneth, 392
Lodge, Lily, 429
Loesser, Frank, 414
Loewenstern, Tara, 75
Loftis, Mark, 92
Logan, Angela, 428
Logan, John, 83
Logan, Joshua, 429
Logan-Morrow, David, 375
Lohman, Kate, 100
Lohner, Helmut, 395
Lokey, Ben, 440
Lombardo, Kathleen, 77
London, Chuck, 347
London, Susan Miller, 430
Long, Anni, 81
Long, Avon, 429
Long, Jodi, 113, 423
Long, Joseph W., 117
Long, Kathryn, 75
Long, Quincy, 419
Long, William Ivey, 467
Long Wharf Theater, 33, 95,
349, 403
Longo, Elizabeth, 420
Lonner, Mara, 376
Looking-Glass, 25, 29, 371
LOOM (see Light Opera of
Manhattan)
Loonin, Larry, 379
Loose Joints, 415
Loot, 109
Lopez, Priscilla, 29, 392, 402,
419, 439, 446
Lopez-Morillas, Julian, 69
Loquasto, Santo, 85, 95, 341,
376, 381
Lorca, Monica, 427
Lord, Gretchen, 110
Lord, Robert, 419
Lorenz, Lief, 399
Lorraine Hansberry Playwrit-
ing Award, 466
Lorring, Joan, 418
Lortel, Lucille, 349, 462
Los Angeles Actors' Thea-
ter, 62
Los Angeles Drama Critics
Circle Award, 467
Los Angeles Repertory Thea-
ter, 62
Loudon, Dorothy, 436
Louise, Mary, 412
Louise, Merle, 378
Louisiana Current, 424
Louisiana Playwrights' Festi-
val, 425
Louisiana Summer, 411
Love, 420
Love, Ed, 393
Love, Edward, 438
Love, Wil, 72, 105
Love of Don Perlimplin and
Belisa in the Garden, The,
423
Lovejoy, Tim, 371
Lovers, 384
Loverso, Stefano, 413
Love's Labour's Lost, 73
Lovvan, Lynn, 100
Low, Betty, 383
Lowe, Dede, 86
Lowe, Gwen Hiller, 432
Lowenstein, Cary Scott, 438
Lower Depths, The, 98
Lowery, Christy, 394, 395
Lowery, Marcella, 385
Lowman, Kristen, 81
Lowrimore, Lee, 82
Lowry, Jane, 105
Lowstetter, Ken, 424
Lozan, Roberto, 81
Lucas, Howard, 394, 395, 396
Lucchese, Jeff, 427
Luce, William, 117
Lucille, 376
Luckham, Claire, 359, 416
Lucrezia Borgia, 465
Luczak, James Edward, 116
Ludel, William, 98, 105, 115,
116
Ludlam, Charles, 43, 44, 425
Ludlow, Dennis, 387
Ludwick, Ruth E., 88
Ludwig, Karen, 415, 427
Ludwig, Salem, 422, 431
Luft, Lorna, 400
Luhrman, Henry, 355, 363,
365, 388, 404, 408
Lum, Alvin, 423
Lumbard, Dana, 352
Lumbard, Dirk, 352
Lumiere, 430
Luna, Barbara, 439
Lunacy, 424
Lunchtime Theater, 87
Lund, Morgan, 79
Lundell, Kert, 375
LuPone, Patti, 376, 392, 408,
442
LuPone, Robert, 385, 386,
439
Lurie, Carol, 338
Lussier, Robert, 344
Lute, Denise, 345
Luz, Franc, 376, 377
Lydiard, Robert, 414
Lyles, Leslie, 422
Lyman, Dorothy, 419
Lyman, Will, 85
Lynch, Brian, 467
Lynch, Jim, 429
Lynch, Kate, 117
Lynch, Peter, 84
Lynch, Timothy B., 372
Lynch, Tom, 76, 89
Lynd, Betty, 438
Lyndeck, Edmund, 338, 350
Lyng, Nora Mae, 369, 370,
444
Lynne, Gillian, 140, 340,
409, 463
Lyons, Bruce, 388
M2 Entertainment, Inc., 331,
462
Ma Rainey's Black Bottom,
115
Mabou Mines, 43, 465
MacArthur, Charles, 103,
111
Macbeth, 105, 418
Macdonald, Brian, 119
MacDonald, Bruce, 46, 47, 81
MacDonald, Catherine, 406
MacDonald, Karen, 76
Mace, Cynthia, 100
MacFarland, Josh, 72
Machado, Eduardo, 42, 413
Machin-Smith, Helen, 71
Machray, Robert, 81, 85, 371
Macintosh, Joan, 106, 114
Maclver, Jane, 77
Mack, Carol, 92, 414
Mackay, Lizbeth, 89, 441
MacKenzie, Wenndy Leigh,
342
Mackey, Ann Marie, 357
Mackintosh, Cameron, 79,
140, 340, 376, 462
Macklin, Albert, 95
MacLachlan, Kyle, 69
MacMillan, Ann, 372, 426
MacNaghten, Marianne, 118
MacNicol, Peter, 89, 95, 441
MacPherson, Gregory, 393,
418, 422
INDEX
529
MacRae, Michael, 107
MacShane, Anita, 338
I Macy, W.H., 408, 413, 414
Madden, John, 40, 89
Maddow, Ellen, 417
Maddox, Diana, 89
Maddox, Gloria, 385
Madeira, Marcia, 112, 361,
366
Maeby, Jack, 102
Maeda, Jun, 417
Maggart, Brandon, 399
Maggie Magalita, 117, 419
Maggio, Michael, 76, 79, 84
Magic Theater, 60, 65, 386
Magid, Paul David, 76, 363,
430
Maginnis, Molly, 360
Maglietta, Licia, 418
Magnificent Christmas
Spectacular, The, 358
Magnificent Yankee, The, 88
Magnusen, Michael, 117
Magnuson, Merilee, 361
Magradey, Jack, 431
Maguire, George, 426
Maguire, Matthew, 417, 432
Mahaffey, Valerie, 98, 391,
418
Mahajan, Barbara, 357
Mahard, Tom, 105
Maher, Joseph, 8, 17, 344
Maher, William Michael,
412, 431
Mailer, Norman, 63
Main, The, 118
Major, Frederic, 91
Major Barbara, 69, 8 1
Makarova, Natalia, 32, 352,
462, 466
Make and Break, 6, 366
Makovsky, Judianna, 69, 88,
418
Malawer, Barry, 418
Malbogat, Simon, 118
Malcahy, Lance, 73
Malcolm, Christopher, 345
Maldonado, Jose Antonio,
415, 423
Male Animal, The, 110
Maleczech, Ruth, 421, 464
Malin, Ella A., vii, 68
Malizia, Lester, 424
Malkovich, John, 8, 37, 388,
464, 465, 466
Malleson, Miles, 72, 106, 107
Malone, Deborah, 432
Maloney, Peter, 42, 414
Maltby, Richard Jr., 69
Mame, 71
Mamet, David,4,27,77, 117,
369, 392, 414, 465
Man, David, 431
Man and Superman, 70
Man From Porlock, The, 424
Man in the Glass Booth,
The, 430
Man Time at the River
Place, 84
Man Who Could See
Through Time, The, 64
Man Who Had Three Arms,
The, 7, 17, 67, 76, 356
Man With a Load Of Mis-
chief, 110
Man With a Raincoat, 1 1 5
Manchester, Melissa, 329
Mandel, Frank, 399
Mandel, Richard, 392
Mandelberg, Cynthia, 371
Mandell, Corrine, 420
Mandrake, The, 73
Manfredini, Harry, 332
Mangel, Charlie, 417
Manhattan Made Me, 25,
29, 402-403
Manhattan Punch Line, 44,
418
Manhattan Theater Club, 4,
6, 25, 27, 28, 35, 371, 379,
380, 382, 384, 406, 418
Manheim, Kate, 391
Manilow, Barry, 21
Manis, David, 405, 406
Mankes, Karen, 342
Manley, Beatrice, 72
Manley, Joanne, 73
Manley, Sandra, 354, 384,
392
Manley-Blau, Beatrice, 418
Mann, Barry, 329
Mann, Charles, 98
Mann, Emily, 92, 108, 466
Mann, Fred C. Ill, 350
Mann, Harry, 417
Mann, Jack, 339, 347, 362
Mann, Paula, 68
Mann, P.J., 437
Mann, Terrence V., 11, 340
Mann, Theodore, 334
Manners, Bernard, 361
Mantegna, Joe, 77
Mantel, Michael Albert, 413
Mantel, Michael S., 405
Mantell, Paul, 414, 425
Mantis, Lou, 425
Mantle, Burns, vii
Manuelian, Michael, 405,
406
Manville, Lesley, 390
Manzi, Warren, 97
Mao, Fredric, 94, 426
Mappus, Barbara, 424
Mara, Susi, 373, 381
Maraden, Frank, 114, 374,
391
Maraden, Marti, 415
Maradudin, Peter, 98
Marathon 1983, 413
Marcel Marceau on Broad-
way, 6, 21, 353
Marcellin, Marianne, 417
March, Ellen, 425
March, Vicki, 109
Marchand, Nancy, 102, 448
Marchetti, Will, 387
Marcum, Kevin, 339
Marcus, Donald, 430
Marcus, Jeffrey, 347
Marcus, Joan, vii
Mardenn, Beness, 427
Maredi, Selaelo, 402
Margaret Ghost, The, 74
Margo Jones Award, 465
Margolies, Abe, 385
Margolis, Mark, 426
Margoshes, Steven, 111, 404
Margulies, David, 97, 430
Margulis, John, 423
Marinaro, Martin, 88
Marineau, Barbara, 415
Marino, Frank, 348
Maris, Jan, 71
Mark, Tamara, 352
Mark Taper Forum, 90
Markinson, Martin, 331, 365,
400, 462
Markle, Christopher, 94
Markle, Stephen, 356
Markoe, Gerald Jay, 31, 378
Markova, Natalia, 465
Markovich, Nick, 417
Markovich, Terrence, 413,
414
Marks, Gerald, 421
Marks, Jack R., 336, 419
Marks, Noah, 110
Markus, Tom, 103, 104
Marley, Andrew, 379
Marlin-Jones, Davey, 115
Marlow, Carolyn, 414
530
INDEX
Marlowe, 38
Marmee, Doug, 467
Marolakos, John, 434
Marques, Rene, 423
Marrell, Lani, 411
Marren, Howard, 420
Marrero, Maria, 113
Marriage a la Mode, 1 1 5
Marriage of Figaro, The, 94
Marriner, Gayle, 424
Marriner, Gregg, 411, 412
Marriott, B. Rodney, 386,
387, 413
Marsden, Pam, 376
Marsh, Frazier W., 91, 92
Marsh, Jean, 103
Marsh, Phil, 377
Marshall, Amelia, 357
Marshall, Anthony D., 347
Marshall, Chris, 439
Marshall, Dorothy L., 106
Marshall, Gay, 80, 439
Marshall, Larry, 357, 417
Marshall, Norman, 402, 421
Marshall, Rob, 431
Marshall, Stephen, 425
Marsolais, Ken, 336, 355
Martell, Leon, 419
Martello, Mary, 397
Martens, Lora Jeanne, 104
Martin, Ann-Ngaire, 101
Martin, Brian, 102, 413
Martin, Christopher, 35, 93,
393, 394, 395, 396, 465
Martin, Elliot, 341, 349, 366,
462
Martin, George, 348, 360,
388, 462
Martin, Glenn, 360
Martin, J. Patrick, 113
Martin, Jane, 4, 27, 91, 92,
379
Martin, Jeff, 370
Martin, Manuel Jr., 415
Martin, Maureen A., 424
Martin, Milicent, 444
Martin, Mike, vii
Martin, Nan, 89
Martin, Nicholas, 107, 347
Martindale, Margo, 78, 91,
380
Martinez, Jordi, 416
Martino, Ginny, 349, 375,
391
Martino, Mark, 431
Martins, Peter, 352
Martone, Mario, 418
Martyn, Greg, 94, 385
Marvin, Jim, 84
Marvin, Mel, 68, 102, 105,
114
Marx, Judith, 73
Marymount Manhattan The-
ater, 432
Maslansky, Harris, 341
Maso, Michael, 74
Mason, Cameron, 439
Mason, Ethelmae, 397, 399
Mason, Karen, 333, 404
Mason, Marshall W., 7, 16,
349, 365, 375, 386, 413,
462, 465
Mason, Muriel, 421
Mason, Richard, 357
Mason, Roger, 344
Mason, Timothy, 91, 413
Mass Appeal, 78, 91, 101,
105, 107, 113, 114, 116,
446
Massa, Robert, 464
Massa, Steve, 347
Massalski, Dorothy, 428
Master Harold . . . and the
Boys, 94, 330, 346
Masters, Ben, 348
Masterson, Mary Stuart, 347
Masterson, Peter, 329
Mastrosimone, William, 3,
26, 92, 111, 401, 466
Matalon, Vivian, 88
Matamoros, Ricardo, 423
Matchmaker, The, 68, 69, 70
Mathers, James, 414
Mathews, Paulson, 343
Mathias, Alice Hammerstein,
398, 399
Mathiesen, Paul, 113
Mathis, Carmen, 427
Matis, Barbra, 118
Matis, Virginia, 93
Matlock, Norman, 105
Matschullat, Kay, 99
Matsusaka, Tom, 423
Matthews, Anderson, 72, 73
Matthews, Ann-Sara, 85
Matthews, Dakin, 109
Matthews, Karen, 376, 400,
415
Matthews, Y. Yvonne, 357
Matthiessen, Jean, 381
Matura, Mustapha, 30, 409
Mauceri, John, 352, 463
Maung, Khin-Kyaw, 420
Maupin, Samuel, 101
Maurer, Laura, 94
Maurer, Lisa, 413
Mavro, Alex, 421
Maxine, Brian, 359
Maxmen, Mimi, 429
Maxon, James, 421
Maxwell, James, 75
Maxwell, Larry, 425
Maxwell, Linn, 432
Maxwell, Mitchell, 331, 462
Maxwell, Roberta, 95
May, Beverly, 353
May, Deborah, 109
May, Elaine, 77
May, Henry, 74
May, Jim, 370
May, Lorry, 370
Maya, Carmen, 423
Mayans, Nancy, 431
Mayer, June Hunt, 384
Mayer, Timothy S., 4, 19, 22,
360, 462
Mayes, Daniel, 69, 70, 71
Mayes, Sue, 385
Maynard, Richard, 100
Mayo, Becky, 91
Mayorga, Lorie, 397, 398,
399
Mays, Bradford, 428
Mays, Richard, 98
Mazen, Glenn, 84
Mazer, H. Paul, 81
Mazor, Jeff, 412
Mazumdar, Maxim, 384
Mazza, P.D., 399
Mazzie, Marin, 414
McAdoo, Dale, 98
McAdoo, Harper Jane, 79
McAlister, Tom, 416
McAnarney, Kevin P., 355,
363, 365, 388, 404, 408
Mc Andrew, Bob, 412
McAndrew, John, 359
McAnuflf, Des, 29, 377, 378
McArdle, Andrea, 436
McAteer, Kathryn, 393
McAuliffe, Mary, 467
McBride, Vaughn, 91, 92,
380
McBroom, Amanda, 107
McCall, Tulis, 421
McCann, Carol, 109
McCann, Christopher, 77,
87, 374
McCann, Elizabeth L, 7, 341,
358, 360, 463
McCann, Patrick, 72
INDEX
531
McCann. Sean, 118
McCarter Theater Company,
101, 102
McCarthy, Jeff, 101
McCarty, Bruce, 386
McCarty, Conan, 100
McCarty, Michael, 414
McCaslin. Greg, 432
McClain, Marcia, 433
McClary, WilHam, 414, 436
McCleland, Jack, 424
McClendon. David, 107, 108
McClure, James, 108
McClure. John, 364
McConnell. Mark, 78
McConnell, Regina, 357
McConnell, Ty, 443
McCord, Stella, 84
McCorkie, Pat, 414
McCorkle, Stephen, 391
McCormick, Michael, 378
McCorvey, Everett, 357
McCourt, Malachy, 80
McCracken, Jeff, 365
McCrane, Paul, 116, 415
McCready, Kevin, 333
McCurry. John, 419
McCutcheon, Bill, 72, 355
McDade, Innes-Fergus, 110,
371
McDaniels, John, 357
McDermott, Keith, 419
McDermott, Tom, 103, 419
McDonald. David, 118
McDonald, Tanny, 74
McDonald's Corp., 466
McDonnell, James, 72
McDonnell, Mary, 77, 386
McDonough, Ann, 386, 404,
423
McDormand, Fran, 71
McElduff, Ellen, 421
McElroy, Evie, 79
McElwaine, James, 377
McEver, Georgia, 398, 399
McFadden, Cheryl. 375, 440
McFadden, Christopher, 397,
399
tMcFarland, Martha, 81
McFarland. Nancy, 397
McFarland. Robert, 418
McGee, Caroline, 375
McGill, Bruce, 20, 361
McGilligan. Judith, 362
McGillis, Kelly, 374
McGinley. Phyllis, 370
McGlamery, Justin, 85
McGourty. Patricia, 89, 377,
382, 387, 391, 465
McGovern, Elizabeth, 69
McGovern, Maureen, 446,
447
McGowan, Edward, 425
McGrath, George, 374, 391,
424
McGrath, J. Andrew, 405,
406
McGrath, Mark, 101
McGreevey, Annie, 436
McGuire, Barry. 87
McGuire, Biff, 366
McGuire, Mitch. 418
McGuire, William Anthony,
112
McGurk, Gary, 69
McHale, Christopher, 115
McHattie, Stephen, 336, 381
Mcllrath, Patricia. 88
Mclnerney. Bernie, 384
Mcintosh, Marcia, 431
Mclntyre, Bill, 95
Mclntyre. Dennis, 101
Mclntyre, Dianne, 420
Mclntyre. Ronald L., 411
McKay, Gardner, 79, 106
McKay, Hugh. 115
McKay. Patricia, 465
McKayle, Donald, 330
McKeaney, Grace, 72
McKechnie, Donna, 439
McKee, Lonette, 360, 462
McKeen. Roger A., 118
McKellen. Ian. 435
McKenley, Tom, 87
McKenna, David, 71
McKenzie, Matt, 345
McKereghan, William, 71,
73
McKiernan, Kathleen, 431
McKillip, Bruce, 398, 399
McKinley, Philip Wm.. 414
McKinney, John, 378
McKinney, Tom. 432
McKinney, Virginia, 83
McLain. John, 336. 352
McLaughlin, James, 460
McLaughlin-Gray, Jack, 84
McLean, Kendall. 81
McLeod. Debbie. 443
McLure. James, 87, 91, 102
McMahon. Eileen, 140, 340,
349. 362. 405
McMartin, John, 8, 88, 346
McMichael, Lucy. 430
McMillan, Adjora F.. 412
McMillan, Lisa. 105, 351
McMullen, Kenneth, 397,
399
McMurray, Sam. 418
McMurtry, Jonathan, 107
McNally, Terrence, 35. 44.
362, 418
McNamara, Dermot, 75
McNamara, John, 84
McNamara, Pat, 89, 425
McNamara, Rosemary, 100
McNamee, Robert, 105
McNaughton. Anne. 109
McNaughton, Stephen. 390
McNeely. Anna. 340
McNeely. Joe. 81
McNulty. Bill, 419
McPherson, Gregory C, 406
McPherson, James Allen, 77
McQueen, Doug. 414
McQueen. Jim. 86
McQuiggan, John A.. 403
McShane, Ian, 467
McTavish. Megan, 80, 84
McTigue. Mary, 432
McVey, Beth, 447
Me and Bessie, 329
Meacham, Anne, 80
Meacham, Paul, 1 16
Mead. Lewis, 371
Mead, Margaret, 370
Meade, Caroline, 421
Meader. Derek. 100
Meadmore. Robert. 437
Meadow, Lynne, 371, 380.
381, 418
Meadows. Michael. 427
Meadows, Robert, 352
Mears. DeAnn. 109
Meal and Potatoes Company,
432
Medea, 78. 330
Medeiros, Michael, 366
Medieval Christmas Pag-
eant, A, 1 1 5
Medjuck, Joe, 351
Medley. Jack, 118
Medoff. Mark. 101
Medusa in the Suburbs, 475
Meehan. Thomas, 329
Meek. Barbara. 102
Meeker. Roger. 75
Mehrten. Greg. 421
Meier. Ron. 350
Meister. Brian, 341. 362
Meister. Karen. 438
532
INDEX
Meldrum, Wendell, 379
Melfi, Leonard, 329, 423, 427
Mell, Randle, 92, 372, 408
Mellor, Anthony, 397, 398,
399
Mellor, Stephen, 113, 390
Melo, Raul, 399
Meloche, Katherine, 377
Meloche, William J., 360
Melrose, Ronald, 400
Memoirs, 459
Memphis Is Gone, 102
Men Inside, 421
Men With Tattoos and La-
dies Who Work in Laun-
deries, 84
Mendillo, Stephen, 111, 349
Menke, Rich, 76
Menken, Alan, 4, 30, 376,
404, 458, 466
Men's Room, The, 429
Ment, Louise, 376
Mercado, Hector Jaime, 340
Mercenaries, 416
Mercer, Johnny, 329, 330,
333, 462
Merchant of Venice, The,
115
Mercier, G. W., 98
Mercury Theater, 396, 409
Meredith, David Lloyd, 359
Meredith, Jan, 362
Meredith, Lois, 415
Meredith, Susan, 427
Meredith, Sylvia, 81
Merediz, Olga, 373, 415
Merkerson, S. Epatha, 115,
420
Merkin, Robby, 376, 377
Merlin, 6, 7, 19, 40, 41, 67,
349-357, 462, 463
Merlin Group, Ltd., The,
342, 351
Merner, George, 117
Merriam, Eve, 386, 413, 417
Merrick, Mike, 365
Merrill, Dina, 32, 352
Merriman, John C, 424
Merritt, George Robert, 357
Merritt, Michael, 85, 467
Merritt, Theresa, 75, 380,
425
Merry Widow, The, 399
Merry Wives of Windsor,
The, 118
Mersky, Kres, 89
Merson, Susan, 413
Mertens, Patricia, 384
Meseroll, Ken, 348, 388
Mesmey, Kathryn, 110
Mesney, Kathryn, 110
Mesnik, William, 91, 92
Messenger, John, 111, 345
Messersmith, Randy, 88
Messier, Marc, 118
Messina, Cedric, 88
Metamorphosis, 89
Metcalf, Laurie, 84
Metcalf, Mark, 97
Metcalfe, Stephen, 78, 108,
380
Metheny, Russell, 87, 115
Mette, Nancy, 75, 91
Metter, Jack, 442
Mettner, Jerry, 335
Metz, Robert Roy, 400
Metzo, William, 437
Meunier, Claude, 118
Meyer, Susana, 421
Meyer, Ursula, 1 10
Meyers, Elizabeth, 89
Meyers, Patrick, 3, 15, 355
Meyers, Timothy, 75
Mezon, Jim, 1 19
Mgcina, Sophie, 402
MGM/UA Home Entertain-
ment Group, Inc., 7, 358,
463
Miami, Fla. New World Fes-
tival, 357
Michael, Christine, 394, 395
Michaels, Jeanne, 408
Michaels, Lynn, 421
Michalik, Anthony, 399
Michels, Jeanne, 85
Mickelsen, David Kay, 114
Micunis, Gordon, 110, 362
Middle Ages, The, 4, 6, 7, 25,
27, 31, 79, 80, 404
Middleton, Thomas, 414
Midsummer Night's Dream,
A, 25, 35, 42, 87, 374-429,
464, 465
Miglietta, John, 347, 434
Mignini, Carolyn, 443, 448
Mikado, The, 119, 399
Mikkelsen, Don, 377
Mikulewicz, Bil, 94
Milani, Linda, 360
Milano, Albert, 82
Milder, Morton, 405, 406
Miles, Carol, 84
Miles, Julia, 412
Milgrim, Lynn, 380, 406
Milgrom, Louis, 415
Milikin, Paul, 420
Militello, Ann, 417
Militello, Anne, 427
Miller, Allan, 29, 372, 373
Miller, Ann, 449
Miller, Annette, 117
Miller, Arthur, 22, 32, 33, 37,
78, 95, 98, 100, 110, 111,
113, 349
Miller, Betty, 336, 381
Miller, Bob, 342
Miller, Court, 98, 332
Miller, Craig, 73, 87, 95, 386,
409, 421
Miller, Edward, 402
Miller, James M., 332
Miller, Jay J., 387
Miller, Jonathan, 76
Miller, Lawrence, 359
Miller, Louise, 379
Miller, Lowry, 87
Miller, Marsha Trigg, 332
Miller, Martha, 414
Miller, Michael, 87
Miller, Pip, 341
Miller, Robin, 104
Millett, Tim, 439
Milligan, Andy, 434
Milligan, John, 418
Milligan, Tuck, 1 1 1
Millman, Howard J., 105
Mills, Dana, 103
Mills, Lee, 385
Milner, Ron, 420
Milton, James, 419, 421, 428,
432
Milwaukee Repertory Thea-
ter, 61, 93
Min, Susan, 1 10
Mindell, Jon, 414
Mine, 91
Mineo, John, 440
Miner, Jan, 85, 97, 433
Miner, John, 357
Miner, Michael Andrew, 106
Minor, Philip, 102, 103
Minot, Anna, 100, 419, 429
MinskoflF, Jerome, 363
Mintzer, William, 75, 79,
115, 381
Miracle Worker, The, 17,
346
Mirage, 428
Miranda, Even H., 95
Mirandolina, 422
Misalliance, 110
INDEX
533
Misanthrope, The, 7, 34, 67,
85, 334-336, 466
Miser, The, 72, 107
Miss Lulu Bett, 93
Miss Waters, to You, 411
Missimi, Nancy, 467
Missouri Repertory Theater,
88
Mitchell, Adrian, 80
Mitchell, David, 7, 12, 89,
344, 354, 362, 364, 463,
465
Mitchell, Gregory, 350
Mitchell, Jerry, 352
Mitchell, Julian, 95
Mitchell, Lauren, 436
Mitchell, Loften, 411
Mixon, Alan, 71, 85, 100
Mixon, Keith, 75
Mile. Modiste, 399
Mobley, Cole, 397, 399
Mobley, Gregory, 398
Mockus, Anthony, 76, 111
Modereger, J. Robin, 76
Modern Ladies of Guanaba-
coa. The, 42, 413
Moffat, Donald, 43, 425, 464
Moffett, D. W., 77
Moize, William, 357
Mokae, Zakes, 446
Moke, Kimberly, 358
Mokone, Tsepo, 402
Moliere, 32, 34, 35, 37, 38,
44,72,81,85,87, 105, 106,
107, 115, 334, 372, 374,
405
Moll, James, 70, 71
Mollet, Philip, 364
Molloy, Brian, 397, 398
Molly, 95
Molnar, Ferenc, 95, 101, 103
Monaghan, Kelly, 420
Monat, Phil, 105, 429
Monday After the Miracle,
6, 7, 17, 67, 345, 465
Monday Night Live, 87
Money: a Jazz Opera, 416
Monferdini, Carole, 103
Monich, Timothy, 396
Monk, Debra, 330
Monk, Isabell, 94
Monk, Robby, 76
Monks, Chris, 359, 385
Monologues, 77
Monroe, Mary F., 84
Monte-Britton, Barbara, 437
Montel, Michael, 432
Monteleone, Kathleen, 371
Montevecchi, Liliane, 446
Montgomery, Barbara, 372
Month in the Country, A, 89
Montley, Patricia, 73
Montresor, Beni, 76, 95
Moody, Che, 434
Moody, Gary, 82
Moody, Jim, 366
Moody, Naomi, 357
Moon, Lynne, 83, 84
Mooney, Bill, 420
Mooney, Daniel, 93
Mooney, Debra, 375, 386,
441
Mooney, Roger, 99, 372, 373,
383, 384
Moonlight Productions, 432
Moor, Bill, 94, 348, 387, 390
Moore, Betty, 102
Moore, Carman, 375
Moore, Christina, 114, 115
Moore, Dana, 352
Moore, George, 27, 371
Moore, Jerry R., 338
Moore, Maureen, 436
Moore, Muriel, 71
Moore, Norma, 82
Moore, Peter, 428
Moore, Randy, 82, 83, 84
Moore, Richard, 102, 104
Moore, Stephen, 359, 462
Moore, Terry, 87
Moore, Tom, 7, 15, 76, 89,
107, 355, 463
Moose Murders, 7, 15, 18,
67, 351, 458, 459
Morales, Margarita, 423
Moran, Don, 414
Moran, Peter, 77
Moran, Robert, 92
Moranz, Brad, 377, 446
Moranz, Jannet, 438
Morath, Inge, vii
Morath, Kathryn, 443, 447
Mordecai, Benjamin, 97
More, Caren, 415
Morehouse, Ward III, 434
Moreno, Belita, 341
Morenzie, Leon, 361
Moreton, Patrik D., 348
Morgan, Cass, 330, 447
Morgan, Denise, 412
Morgan, James, 415, 429
Morgan, Kelly C, 79
Morgan, Kim, 104
Morgan, Monique, 105
Morgan, Randy, 360
Morgan, Robert, 76, 108, 109
Morgan, Roger, 80, 347
Morgenstern, Stephanie, 118
Moriarty, Michael, 33, 111,
336
Morin, Michael, 419, 420
Morin, Ricardo, 98
Moriyasu, Atsushi, 423
Morley, Ruth, 343, 370, 408
Mormel, Ted, 424
Morning's at Seven, 105,
109
Morris, Anita, 447
Morris, Christine, 374, 391
Morris, Deirdra, 359
Morris, Marti, 347, 443
Morris, Myra, 414
Morris, Sidney, 369, 431
Morris, Thomas Q., 374
Morris, William S., 113, 355
Morrisey, Bob, 340, 436
Morrison, Ann, 432, 444
Morrison, Elaine May, 428
Morrison, Hobe, vii, 458, 459
Morrison, Jan, 1 17
Morrison, Sara, 105
Morriss, Bruce K., 101
Morrissey, Jeanne, 432
Morrow, Robert Alan, 387
Morse, Ben, 408
Morse, Robert A., 370
Morse, Robin, 354
Morse, Tom, 385, 404
Morton, Mark, 72
Moschen, Michael, 44, 465
Moscoso, Roberto, 417
Moscow Hamlet, A, 427
Moseley, Robin, 85, 86
Moses, Dewarren, 420
Moses, Gerard, 1 13
Moses, Gilbert, 115
Moses, Mark, 95
Moses, Steven, 102
Mosher, Gregory, 76, 77,
392, 465
Mosley, Milledge, 74
Mosley, Robert Jr., 357
Moss, Art, 83
Moss, Barrie, 353
Moss, Gary, 333
Moss, Robert, 419, 431
Mosse, Spencer, 69, 94, 1 13,
374, 391
Mother of Us All, The, 44,
432, 465
Mott, Bradley, 106
534
INDEX
Motter, Kim Ivan, 414
Mount-Burke, William, 37,
397, 399
Mousetrap, The, 68, 69
Moving, 118
Mozzi, Leonard, 78
Msomi, Welcome, 44, 432
Mucci, Kimberly, 411
Much Ado About Nothing,
98
Mueller, John Edward, 114
Mueller, Roger, 76
Muellor, Katherine, 375
Muenz, Richard, 437, 443
Muir, Keri, 88
Mulcahy, Sean, 1 17
Muldoon, Kitty, 413
Mulgrew, Kate, 113
Mulholland, Barry, 394, 395,
396
Muller, Jennifer, 377
Mumford, Peter B., 385
Munch, Allen E., 112
Munderloh, Otts, 361, 377
Mundy, Meg, 355
Munger, Paul, 82, 84
Munk, Erika, 464
Munnik, Rob, 344
Murbach, John, 467
Murch, Robert, 110
Murder at the Vicarage, 91
Murder Is Announced, A, 82
Murderous Angels, 38
Murdock, George, 81
Murin, David, 85, 99, 112,
331, 336, 366, 372, 404
Murney, Christopher, 396,
408
Murphey, Mark, 70
Murphy, Brendan, 387, 413
Murphy, Dallas Jr., 419
Murphy, Eileen MacRae. 1 10
Murphy, Harry, 76
Murphy, Michael, 98
Murphy, Rosemary, 372
Murphy, Sean, 87
Murray, Andrew, 117
Murray, Annie, 94
Murray, Braham, 107
Murray, Brian, 406
Murray, Jane, 337
Murray, Jeff, 467
Murray, John, 94
Murray, Johnna, 375, 381
Murray, Julia, 415
Murray, Marc, 428
Murray, Mary Gordon, 333
Murray, Michael, 77, 78
Murray, Susan, 374
Murray-Walsh, Merrily, 82,
85
Murrell, John, 110
Musante, Tony, 107
Muscha, Colleen, 94
Museum of the City of New
York, 463
Music Keeper, The, 433
Music Theater of Lincoln
Center, 360
Music-Theater Group /Lenox
Arts Center, 44, 402, 432
Musnik, Stephanie, 420
Musser, Tharon, 89, 351,
354, 362
Mussetter, Jan, 333
Mustelier, Alex, 427
Mutual Benefits Productions,
358, 463
My Astonishing Self, 37, 408
My Early Years, 414
My Heart Is in the East, 431
My One and Only, 3, 4, 6, 7,
8, 9, 18, 19, 20, 22, 33,41,
67, 360, 460, 462, 463, 466
My Sister in This House, 7 1
My Uncle Sam, 1 1 1
Myers, Jeff, 332
Myers, Ken, 353
Myers, Lou, 392
Myers, Paulene, 72
Myerscough-Waiker, Robin,
390
Myles, Meg, 428
Mylonas, Alexis, 431
Myren, Tania, 73
Myrick, Kevin, 72
Nabel, Bill, 440
Nadel, Barbara, 371
Nader, J.B., 424
Nadir, Robert, 348
Naff, Lycia, 82
Nagler, Lanny, vii
Nahas, Robert, vii
Nahrwold, Thomas, 344
Naier, Andrea, 365
Najee-Ullah, Mansoor, 420
Nakahara, Ron, 423
Nalback, Daniel, 118
Nail, Sarah, 88
Napier, John, vii, 7, 10, 22,
140, 340, 463, 466
Napoli, Tony, 432
Nardi, Tony, 117
Nardini, Tom, 349
Narhwold, Thomas, 429
Naropa, 417
Nash, Barry, 82
Nastasi, Frank, 431
Nat Home Musical Theater,
371
Nathan, Fred, 140, 340, 349,
353, 362, 405, 409
Nathan, Robert, 420
National Anthems, 101
National Endowment, 40
National Theater, 11, 23,
349, 390
Native Speech, 73
Natter, Jeff, 72, 113
Naughton, James, 97
Nause, Allen, 70, 110
NaVarre, Ronald A., 440
Navin, John P. Jr., 347
Naylor, Marcus, 79
Neal, Joseph, 409
Near, Timothy, 117
Necessary Ends, 421
Neches, Robert, 381
Nederlander, 39
Nederlander, Charlene and
James, 359
Nederlander, James M., 6,
39,337,338,350,359,363,
462
Nederlander Organization,
39
Need For Brussels Sprouts,
A, 343-344
Need For Less Expertise, A,
343-344
Needham, Michael J., 409
Neely, Susan G., 83
Neenan, Audrie J., 466
Negro Ensemble Company,
25,28,29,77,86,369,372,
402
Neil, Dianne, 429
Neil, Roger, 443
Neipris, Janet, 413
Nelke, Karolyn, 98
Nelligan, Kate, 8, 11, 348,
388, 462, 465
Nelsen, Don, 458, 459, 460
Nelson, Barry, 109, 441
Nelson, Christopher Stafford,
414
Nelson, Douglas, 1 14
Nelson, Janice Nunn, 338
Nelson, Karen, 87
Nelson, Kenneth, 443
INDEX
535
Nelson, Louis, 408
Nelson, Mark Wayne, 85
Nelson, Novella, 387
Nelson, Randy, 76, 363
Nelson, Rebecca, 100, 416
Nelson, Richard, 77, 89, 94,
335, 336, 347, 377, 384,
428, 465
Nelson, Ruth, 86
Nemetz, Lenora, 376
Nemtin. Stuart, 117
Neptune Theater, 117
Nesci, John, 1 13
Nestroy, Johann, 114
Netzel, Sally, 82, 83
Neufeld, Mace, 363
Neufeld, Peter, 340
Neumann, Frederick, 421
Neustat, Betty, 384
Neuwirth, Bebe, 393, 437
Neville, John, 117, 337
Neville- Andrews, John, 115
Nevis Mountain Dew, 467
New Approach to Human
Sacrifice, A, 385-387
New Drama Forum Associa-
tion, 466
New Dramatists, 419, 466
New Faces of '52, 414
New Federal Theater, 44,
392, 420
New Jersey Shakespeare Fes-
tival, 92. 93
New Rhythm Boys, 20
New Tunes, 418
New York Drama Critics Cir-
cle, 4, 7, 27, 231, 457, 458
New York Gilbert And Sul-
livan Players, 432
New York Shakespeare Fes-
tival, 11, 23, 25, 35, 37,
337, 348, 349, 359, 369,
374, 377, 388, 391, 405,
421, 464
New York Theater Studio,
432
New Yorkers, The, 358
Newcomb, Don, 429
Newell, Ron, 79
Newman, Andrew Hill. 350
Newman, Daisy, 357
Newman, David, 329
Newman, Ellen, 344
Newman, Lance, 72
Newman, Molly, 100
Newman, Phyllis, 432
Newman, Ronnie, 428
Newman, Ralph, vii
Newman, Sha. 333
Newman, Stephen D., 336,
366
Newton, John, 429
Nicastro, Michelle, 350
Nice People Dancing to
Good Country Music, 91
Nicholas, Carl, 361
Nicholas, Harold, 448
Nicholas Nickleby, 88
Nichols, Mike, 20
Nichols, Peter, 12, 365
Nichols, Robert, 85
Nicholson, James, 115, 420
Nicholson, Paul, 69
Nichtern, Claire, 7, 344
Nickerson, Bill, 394, 395, 396
Nicola, James, 1 15
Nicoll, Barbara, 424
Niehenke, Walter, 447
Nielsen, Kristine, 94
Nieminski, Joseph, 77, 467
Nieves, Miriam, 375, 394
'night. Mother, 3, 6, 7, 8, 9,
15, 21, 22, 41, 46, 67, 76,
355, 458, 459, 461, 462,
463, 465, 466
Night and Day, 74
Night Fishing in Beverly
Hills, 431
Night in Venice, A, 399
Nightingale, 69
Nightline, 402-403
Nikola, Joe, 425
Niles, Barbara, 68
Nina Vance Alley Theater,
85, 86, 87
Nine, 6, 20,41, 67, 331, 446
No More Summers, 419
No Smoking Playhouse, 421
Noah, Joseph, 425
Noble. Linda, 335
Nobody's Perfect, 414
Noel, Craig, 107
Noell, Chuck, 424
Nogulich, Natalija, 423
Nolan, Lloyd, 33
Nolan, Robin, 425
Nolan, Tom. 415
Noling, David, 426
Noll. Robert, 80
Noll, Tony, 418
Nolte, Charles, 105
Noonan. John Ford. 27. 80.
392
Noone. Peter. 447
Norcia. Patrizia. 369, 384,
426
Norgard, Richard, 74
Normal, Nerida, 376
Normal Doesn't Mean Per-
fect, 108
Norman, Marek, 377
Norman, Marsha, 3, 4, 15,
22, 38, 46, 76, 100, 109,
355, 461, 462
Norment, Elizabeth, 348,
390, 441
Norris, Karen, 71
Norris, William J., 76
North, Alan, 418
North Light Repertory, 84
Norton, Elliot, 462
Norton, Scott A., 113
Not Now, Darling, 414
Not So Grimm, 106
Nothing Immediate, 87
Nouri, Michael, 371
November, 1 1 3
Novick, Julius, 46, 458, 459.
460, 464, 466
Novy, Nila, 93
Nowak, Christopher, 376
Nugent, Elliott, 110
Nugent, Nelle, 7, 341, 358,
360, 463
Nunez, Juan Carlos, 417
Nunn, Bill, 72
Nunn,Trevor,3,7, 10, 11,22.
34, 140, 340, 359, 463. 466
Nurse Jane Goes to Hawaii,
25, 29, 399
Nussbaum, Mike, 77
Nuts, 42, 86
Nyberg, Pamela. 76
Nye, Carrie, 384, 429
Nye, Gene, 418
Oakland University Profes-
sional Theater Program,
105
Oakley, Scott, 332
Obedience School, 44
Oberlander. Marjorie. 392
Oberlin, Richard. 79
Obie Awards, The, 464
O'Boyll, Michael, 392
O'Brien, Adale, 91, 92
O'Brien, Conor Cruise, 38
O'Brien, David. 102
O'Brien. J. Patrick. 374
O'Brien, Jack, 107, 357
O'Brien, Michael P.. 68
536
INDEX
O'Brien, Terrence P., 74
O'Brien, Timothy, 339
O'Brien, Tom, 109
O'Brien, Wick, 424
O'Casey, Sean, 117, 426
Ochocki, Russell, 424
O'Connell. Anne-Catherine,
105
O'Connell, Cathy, 117
O'Connell, Deidre, 419
O'Connell, Maggie, 420
O'Connell, Patricia, 371
O'Connor, Brian, 432
O'Connor, Dennis, 118
O'Connor, Donald, 33, 360
O'Connor, Glynnis, 386
O'Connor, Jim, 466
O'Connor, Kevin, 8, 372,
379, 425
O'Connor, Paul, 400
O'Connor, Paul Vincent, 71
O'Connor, Sara, 93, 433
O'Dell, K. Lype, 92
Oditz, Carol, 333, 346
Odle, Dwight Richard, 82
Odom, Barry Allen, 115
O'Donnell, Mary Eileen,
394, 395, 396
Oesterman, Phillip, 361
Offner, Deborah, 114, 374,
432
Ogee, George, 442
Oglesby, Thomas R., 81
Oh, Dad, Poor Dad, 38
Oh! Calcutta!, 329
Ohama, Natsuko, 423
O'Hara, Jenny, 97, 98, 372
O'Hara, Jill, 100
O'Hara, John, 87, 95
O'Hara, Paige, 360
O'Hare, Brad, 111
O'Hare, Michael, 85
Ohio Impromptu, 77, 370
Ohio Tip-Oflf, 419
O'Horgan, Tom, 417
O'Karma, Alexandra, 68
Okazaki, Alan, 108
O'Keefe, Michael, 446
O'Keeffe, John, 37, 93, 393
O'Kelly, Aideen, 80
O'Krancy, John, 118
Olaisen, Arthur, 83
Old Friends, 467
Old Globe Theater, 107, 108
Old Grand-Dad, 424
Old Possum's Book Of Practi-
cal Cats, 10, 340
O'Leary, Patrick J., 383
Oleksa, 418
Olena, Kate, 75
Oleniacz, Thomas S., 79
Olich, Michael, 87
Olive, John, 27, 379
Oliver, Barbara, 73, 74
Oliver, Bette, 110
Oliver, Edith, 116, 458, 459,
460
Oliver, Smith, 84
Oliver, Stephen, 80
Olivier, Laurence, 35
Olson, James, 425
Olster, Fredi, 391
Olympic Man Movement,
416
O'Malley, Etain, 100, 336,
344
O'Malley, Jason, 392
O'Mara, Dick, 399
O'Mara, Stephen, 399
O'Meara, Kevin, 417
On Borrowed Time, 85
On the Money, 65
On the Razzle, 114
On Your Toes, 6, 7, 22, 32,
33, 40, 67, 352, 462, 463,
465, 466
Once Upon a Mattress, 38
One Mo' Time, 369
O'Neal, John, 418
O'Neal, Michael, 393
O'Neal, Patrick, 393
O'Neals' 43d, 432
O'Neill, Claudia, 399
O'Neill, Eugene, 70, 76, 87,
98, 105
O'Neill, Gene, 381
O'Neill, Rosary, 102
Onion and the Strawberry
Seed, The, 424
Only Connect, 419
Onque, Byron, 357
Onrubia, Cynthia, 340, 439
Ontiveros, William, 93
Ontological-Hysteric Thea-
ter, 391
Opel, Nancy, 442
Open Admissions, 95
Open Space Theater Experi-
ment, The, 421
Opening Night, 412
O'Quinn, Terrance, 344, 382
Orazi, Joseph M., 99
Orbach, Jerry, 442, 444
Orbach, Seth, 385
Orchard, Robert J., 76
Oregon Shakespearean Festi-
val, 69, 71, 463
O'Reilly, Terry, 421
Orenstein, Joan, 117
Organek, Susanna, 399
Organic Theater, 60
Orkeny, Istvan, 1 14
OrlofT, Penny, 338
Orner, Fredric, 378, 390
Ornstein, Michael, 428
O'Rourke, Jennifer, 399
Orr, Leonard, 431
Orson, Barbara, 103
Orton, Joe, 71, 94, 109, 113,
422
Ortwein, Terrence, 87, 115
Osborn, Julie, 114
Osborn, M. Elizabeth, 419
Osborn, Paul, 85, 105, 109,
111
Osborne, Conrad L., 98
Osborne, John, 35, 68, 71,
383
Osborne, Si, 79
Osburn, Julie, 399
O'Shea, Milo, 446
Osorio, Diva, 415
Ossian, David, 431
Ostermann, Curt, 400
Osterwald, Bibi, 444
Ostrovsky, Alexander, 428
O'SuUivan, Anne, 413, 434
O'SuUivan, Michael, 424
O'Sullivan-Moore, Emmett,
94, 414, 428
Otfinoski, Steven, 424
Other End, The, 432
Other Side of the Swamp,
The, 25, 30, 405
Other Theater, 417
Other Work, 117
Otherwise Engaged, 229,
231, 234
Otrabanda Company, 417
Ott, Sharon, 93, 94, 107, 381
Otto, Liz, 399
Oudin, Laurie, 425
Our Life, 424
Our Lord of Lynchville, 432
Our Town, 93
Out of Order, 413
Out of the Night, 25, 30,
409
Outer Critics Circle Awards,
466
Outrage, 6, 365
INDEX
537
Overmire, Laurence, 374
Overmyer, Eric, 73
Owen, Edith, 80
Owen, Marianne, 76
Owen, Paul, 92
Owen, Wilfrid, 31
Owens, Albert, 418
Owens, Elizabeth, 383
Owens, Susan, 408
Oxcart (la Carreta), The,
423
Oxley, J. Leonard, 69
Oxter, Albert, 69
Oz, Land Of Magic, 84
Ozker, Eren, 101
Pace, Michael, 342
Padgett, Billy, 72
Pagano, Giulia, 409
Page, Geraldine, 435
Page, Ken, 10, 340
Paget, Dennis, 385
Painter, Estelle, 80
Painting Churches, 43, 425,
458, 459, 464, 465
Paisley Patterns, 353
Pal Joey, 87, 95
Palacios, Lorena, 414
Paleologos, Nicholas, 347
Paliferro, Tom, 336
Palk, Nancy, 118
Palm, Thom, 76
Palmer, Elizabeth P., 100
Palmer, Martitia, 424
Palmieri, Joe, 114
Palmore, John, 397, 398, 399
Palsson, Sella, 370
Palsson's, 31, 369, 432
Pampas, Evangelos, 431
Pan, Lillian, 423
Pan Asian Repertory Theater,
42, 422
Pankow, John, 432, 436, 440
Panson, Bonnie, 351
Pantoliano, Joe, 81
Pantomime, 107
Papandreas, Johnienne, 400,
422
Paper Boy, The, 413
Papp, Joseph, 11, 23, 24, 29,
35,348,374,377,390,391,
421, 462, 465
Pappas, Theodore, 78, 114,
376
Paradise, James, 424
Paradise, Jim, 424
Parady, Ron, 84
Paraiso, Nicky, 375
Paramount Theater Produc-
tions, 7, 353, 360, 462
Parichy, Dennis, 89, 99, 100,
349, 375, 381, 382, 385,
386, 405, 406, 409, 465
Paris, Ronnie, 424
Parisi, Joe, 421
Park, Youn Cho, 417
Park Royal Theater, 432
Parker, Ellen, 348, 388
Parker, Ginny, 71
Parker, Gloria, 360
Parker, Norman, 77, 425
Parker, Patricia, 339
Parker, Roxann, 414
Parker, Sarah Jessica, 436
Parker, Stewart, 69
Parker, Tom, 109
Parker, Una-Mary, 409
Parker, Viveca, 429
Parker, William, 108
Parks, Charles, 82
Parks, Hildy, 344
Parnell, Peter, 423
Parone, Edward, 89
Parrinello, Richard, 333
Parrish, David, 106
Parrish, Elizabeth, 69
Parrish, Man, 362
Parrish, Sally, 424
Parsons, Estelle, 447
Parten, Peggy, 350
Partial Objects, 419
Partington, Rex, 68
Partington, Tony, 69
Partlan, William_, 115, 116
Partners, 92
Pascoe, Pamela, 419
Pasekoff, Marilyn, 414, 444
Pashalinski, Lola, 391, 427
Pasqualini, Tony, 428
Pasquin, John, 95, 115
Pass, Lenny, 80
Passeltiner, Bernie, 392, 422
Passion, 3, 7, 9, 12, 67, 365,
458, 459, 460, 462
Passion Play, 12
Pastene, Robert, 94
Pastoral, 42
Pastoral, or Recollections of
Country Life, 414
Pastoria, Andre, 352, 463
Pat Productions, 409
Patch, Jerry, 81
Patches, 375
Paterson, Florence, 118
Paterson, William, 109
Patience, 399
Patinkin, Mandy, 442
Paton, William T., 113
Patrick, John, 92
Patrick, Robert, 427
Patrick-Warner, Richard,
424
Patt Dale Associates, 393
Patten, Caymichael, 375
Patten, Moultrie, 408
Patterson, Charles H., 392
Patterson, Howard Jay, 76,
363, 430
Patterson, Jay, 15, 355
Patterson, Kevin, 377, 401
Patterson, Raymond, 342
Patterson, Tom, 1 18
Patterson, Tracee, 79
Patterson, Zelda, 425
Patton, JoAnn Johnson, 69,
71
Patton, Joseph, 414
Patton, Lucille, 422
Patton, Pat, 69, 71
Patton, Shirley, 69, 70
Patton, William W., 69
Paul, Alex, 374
Paul, Bobby, 430
Paul, Guy, 114
Paul, James, 106
Paul, Kent, 434
Paul, Tina, 375
Paul, Tracy, 360
Paulsen, Jeanne, 70, 71
Paulsen, Lawrence, 69, 70
Pavlosky, David, 333
Pawns, 424
Paxton, Alexandra, 116
Payan, Ilka Tanya, 423
Payne, Freda, 448
Payton-Wright, Pamela, 85,
374
Pazdera, Vashek, 398, 399
Peacock, Michon, 393
Peakes, John, 105
Peanuts, 400
Pearl, Alice Elizabeth, 415
Pearle, Gary, 68, 102, 114,
466
Pearlman, Liz, 76
Pearlman, Nan, 341
Pearson, Burke, 374, 386,
387
Pearson, Scott, 439
Pearthree, Pippa, 116, 371,
390, 441
538
INDEX
Peate, Patricia Flynn, 428
Peck, Jim, 71
Peck, Seymour, 462
Pecktal, Lynn, 69
Pecorino, Joseph, 385
Peer Gynt, 94
Pell, Amy, 360, 366
Pellegrino, Susan, 85, 429
Pellicciaro, Elena, 421
Pelliciaro, Elene, 426
Pelton, Carmen, 432
Pelty, Lee, 466
Pen, Polly, 378
Pendleton, Austin, 413, 421
Pendleton, Wyman, 76, 356
Penelope, 25, 30, 399
Penn, Arthur, 17, 346
Penn, H. William, 357
Penn, Sean, 8, 12, 353
Pennell, Nicholas, 118
Pennington, Diane, 363
Penson, Arthur, 117
Pentecost, George, 336
Pentecost, The, 93
Pepperpot, 81
Peralta, Craig, 333
Percassi, Don, 440
Performing Arts Journal, 465
Performing Garage, The, 44,
432
Pericles, Prince of Tyre, 37,
405
Perkins, A. William, 438
Perkins, Don, 93
Perkins, EUzabeth, 77
Perkins, John, 1 13
Perkins, Wellington, 438
Perloff, Carey, 426
Perloflf, Howard, 332
Perren, Dennis, 360
Perri, Paul, 349
Perry, Alvin B., 87
Perry, David, 77
Perry, Elizabeth, 335, 344
Perry, Karen, 420
Perry, Marenda, 357
Perry, Shauneille, 420
Perry Street Theater, 432
Persch, Jayne, 101
Persky, Lisa Jane, 111, 345
Persons, Fern, 84, 467
Persson, Gene, 400
Pertalion, Albert, 88
Pesaturo, George, 440
Pesola, Robert, 365
Pesola, Steve, 370
Petal, 417
Peter and the Hungry Wolf,
110
Peters, George J., 431
Peters, Lisa, 338, 339
Peters, Ntombi, 95
Peters, R.J., 438, 439
Petersen, David O., 77
Petersen, Erika, 117
Petersen, William L., 77
Peterson, Aleksander, 88
Peterson, Arthur, 105
Peterson, Chris, 352
Peterson, Eric, 87, 104, 107
Peterson, Lenka, 75, 98, 100
Peterson, Richard, 371
Peterson, Robert, 71, 108,
109
Peterson, Steve, 108
Peterson, William L., 466
Peticion del Publico, A,
417
Petito, Anthone, 370
Petlock, Martin, 110
Petrakis, Mark, 377
Petroski, Millie, 398, 399
Petsche, Bruce, 371
Petti, Deborah, 425
Pflanzer, Howard, 430
Phantom Limbs, 428
Phelan, Kate, 73
Phelps, Dwayne, 338
Phelps, Scott, 91
Philadelphia Drama Guild,
98
Philadelphia Playrights' Pro-
ject, 99
Philanderer, The, 97
Philippine Educational Thea-
ter Arts League, 417
Philips, Mardi, 332
Phillips, Barbara-Mae, 354
Phillips, Bob, 418, 422, 424,
428
Phillips, Margaret, 113
Phillips, Mary Bracken, 436
PhilUps, Peter, 429
PhilUps, Robert D., 79
PhiUips, Stevie, 408
PhilUps, Timothy, 78
Philoctet, 431
Phippin, Jackson, 72
Phipps, Brian, 420
Phipps, Jennifer, 118
Phoenix Theater, 6, 29, 38,
396
Piaf: La Vie L'amour, 80
Picard, Tom W., 370
Pichanick, Jenny, 82
Pichette, Joseph, 427, 447
Pickens, James Jr., 386
Pickering, James, 93
Pickering, Rose, 93
Pickett, Lou Ann, 357
Pickette, David, 110
Pickette, Walter, 73
Piddock, Jim, 335, 366, 429
Piece of Monologue, A, 77
Pielmeier, John, 330
Pierce, Bill, vii
Pierce, David, 381
Pierce, Harvey, 431
Piering, Mary, 94
Pierrot Productions, 379
Pietig, Louis D., 393, 401
Pietropinto, Angela, 375
Pietrowski, John, 93
Piggee, Leonard, 360
Pigliavento, Michele, 414
Pike, Rick, 105
Pilditch, Charles, 423
Pincus, Warren, 94
Pine, Larry, 362, 421
Pinhasik, Howard, 429
Pinheiro, Helena, 430
Pinkney, Scott, 332
Pinner, David, 79
Pinocchio, 87
Pinter, Harold, 81, 229, 231
Pinza, Carla, 413
Pippin, 101
Pippin, Don, 358
Pirates of Penzance, The, 72,
330, 399, 447
Pirolo, Mark, 101
Pitek, Michael P. Ill, 75
Piteo, Theresa, 79
Pitoniak, Anne, 8, 15, 21, 22,
27, 76, 355, 380, 462, 465,
466
Pitts, Gary, 399
Pitts, Michael-Day, 438
Pitts, William, 105
Pittsburgh Public Theater,
100
Pla, Ruben, 415
Place, Dale, 414
Place on the Magdalena
Flats, A, 432
Plachy, William J., 428
Placzek, Ron, 69, 371, 415
Plagues for Our Time, 417
Plank, Dean, 359
Plank, Scott, 438, 440
Plante, Jean-Pierre, 118
INDEX
539
Plass, Sara Gromley, 402
Plato, viii
Piatt, Marc E., 360
Piatt, Victoria Gabrielle, 414
Play, 37, 405-406
Play and Other Plays, 405-
406
Play Me a Country Song, 1 5,
18, 67, 332
Playboy of the Western
World, The, 80
Players State Theater, 80, 81
Playhouse Intern Company,
79
Playing in Local Bands, 98,
116
Playing the Fool, 118
Playing With Fire, 422
Playkill Productions, Inc.,
369
Play's the Thing, The, 103
Playten, Alice, 448
Playwrights Horizons, 29,
369, 375, 376, 391, 423,
465
Plenty, 3, 4, 7, 8, 9, 11, 12,
23,24,25,31,67,348,391,
458, 459, 460, 462, 465
Ploetz, Richard, 417
Plumley, Don, 417
Plummer, Amanda, 435
Plunkett, Maryann, 435
Plymale, Trip, 388
Podbrey, Maurice, 118
Poe, Richard, 69, 75
Poggi, Gregory, 98
Poggi, Jack, 424
Pogue, David, 80
Poisoner of the Wells, 414
Polan, Lynn, 100, 101
Polan, Nina, 423
Polanco, Iraida, 423
Polinsky, Albie, 400
Politano, Maria, 399
Polito, Jon, 77
Polizos, Vic, 85, 113, 116
Pollock, Graham, 93, 105
Pollock, Kate, 359
Pollock, Sharon, 415
Polloway, Michael, 358
Pond, Helen, 360
Pond, Sam, 69, 70, 71
Poole, Roy, 97, 403
Poor, Harris, 432
Popcorn Productions, 371
Pope, Peter, 332
Popper, Doug, 414
Popper, Kathy, 424
Poppert, Daniel R., 93
Poppie Nongena, 25, 29, 402,
465. 466
Porgy, 357
Porgy and Bess, 7, 33, 67,
357-358, 462, 463
Porpoise, 424
Portage of San Cristobal of
A. H., The, 85
Portelli, Remo, 425
Porter, Brett, 75, 390
Porter, Ken, 392
Porter, Stephen, 34, 336
Porterfield, Robert, 68
Portland Stage Company,
100, 101
Portnow, Richard, 414
Portrait of Jennie, 420
Portz, C.R., 431
Poser, Linda, 364
Posin, Kathryn, 76
Posner, Iris, 424, 425
Postcards, 414
Postic, Visnja, 417
Potiche, 347
Potillo, Pamela, 95
Potozkin, Amy, 70, 71
Potsdam Quartet, The, 79
Potter, Don, 351, 362
Potter, Madeleine, 337, 348,
349, 353, 390
Potter, Miles, 119
Potter, Robert, 82
Potts, David, 79, 88, 382,
384, 386, 403, 427
Potts, George, 362, 405
Potts, Nancy, 355, 357, 465
Poul, Alan Mark, 418
Powell, Addison, 75, 97
Powell, Felix, 329
Powell, Mary Ann, 115
Powell, Michael, 338
Power, Edward, 387
Power, Tyrone, 95
Power Productions, 378
Powers, David, 334, 344, 404
Powers, Dennis, 109
Powers, Susan, 340
Pownall, David, 369
Prendergast, Shirley, 76, 372,
420
Present Laughter, 7, 8, 34,
67, 106, 334-335, 465
Presnell, Harve, 436
Press, Laura, 1 17
Press, Toni, 74, 101
Pressman, Lawrence, 89
Preston, Alan, 376
Preston, Don, 382
Preston, Travis, 73
Preston, William, 419
Preusse, Stephen, 87
Previn, Dory, 90
Prevor, Beth, 400
Price, Annabella, 89
Price, Lonny, 446
Price, Peggity, 93
Price, The, 78, 100
Price of Genius, The, 25, 30,
384
Pride of the Brittons, The,
82
Priestley, J.B., 75
Prima, Louis, 329
Primerano, Charles, 113
Primont, Marian, 105
Primus, Barry, 1 16
Primus, Ken, 69
Prince, Akili, 357
Prince, Faith, 101, 377, 446
Prince, Ginger, 101
Prince, Harold, 19, 338, 339,
466
Prince, William, 356
Prince and the Pauper, The,
87
Prine, Andrew, 82
Prinz, Rosemary, 93
Pritchett, James, 431
Pritchett, Lizabeth, 360
Private Lives, 7, 34, 67,
362, 458, 459
Procaccino, John, 72, 1 1 1
Proctor, Jean, 86
Production Company, 44,
432
Promises, Promises, 414
Proposal, The, 117
Prosky, Robert, 349
Prostak, Edward, 358
Proud Flesh, 1 1 5
Provenza, Sal, 443
Provenzano, Gaetano, 425
Provincetown Playhouse,
392
Provoked Wife, The, 432
Prufrock, 340
Prunczik, Karen, 444
Pruneau, Philip. 105, 113
Psuicide, 425
Public Lives, 102
Pucci. Maria Cristina, 332,
352, 355, 365, 373, 403
540
INDEX
Pudenz, Steve, 418, 421
Puerto Rican Travelling The-
ater, 42, 423
Pullman, Bill, 105
Pump Boys and Dinettes,
330, 447
Puppet People, The, 347
Purdham, David, 75, 80
Purnell, Shaw, 100
Pursley, David, 82
Pvt Wars, 87
P.W.B., 424
Pyduck, James, 424
Pygmalion, 103
Quaigh Theater, 30, 423, 432
Quartermaine's Terms, 3, 8,
9, 24, 25, 31, 41, 97, 230-
235, 403, 458, 464, 465
Queen and the Rebels, The,
34, 67, 334-336
Queen for a Day, A, 109
Quiet in the Land, 118
Quilters, 100
Quimby, Gerald, 415
Quincella, 338
Quinn, Patrick, 1 12
Quinn, Robert, 395, 396
Quinn, Rosemary, 381, 382
Quinton, Everett, 425, 465
Raab, Cheryl, 333
Rabassa, Gregory, 423
Rabb, Ellis, 34, 107, 355
Rabinowitz, Robert, 342
Raby, Peter, 82
Rackleff, Owen S., 424
Rackoff, Louis, 100
Raclot, Jean-Jerome, 353
Radigan, Tom, 422
Radio City Music Hall, 7, 33,
354, 357, 358
Radloff, J., 399
Radon, Peer, 362
Radzinsky, Edvard, 116
Rae, Audree, 425
Raether, Richard, 82
Rafshoon, Charles, vii
Ragan, Michael, 333
Raider- Wexler, Victor, 93
Raidy, William, 235, 458, 459
Raiff, Stan, 378
Raiken, Sisu, 339
Rainer, John, 75
Raines, Ron, 360
Rainey, Ford, 103
Raisin in the Sun, A, 75
Raistrick, George, 359
Raiter, Frank, 87
Rakerd, Cliff, 347
Ralph, David, 81
Ralph, Sheryl Lee, 442
Ralston, Rick, 384
Ramaker, Julie, 429
Ramicova, Dunya, 85, 90, 98,
381
Ramos, Ramon, 349
Ramos, Raul, 421
Ramos, Richard Russell, 81,
102, 414
Rampino, Lewis D., 80
Ramsay, Remak, 8, 97, 231,
235, 403, 441
Ramsey, Marion, 342
Ramsey, Stanley, 412
Randall, Juliet, 88
Randall, Mac, 419
Randel, Melissa, 438
Randolph, Beverley, 339
Randolph, Robert, 333
Rankin, Steve, 92
Ransom, Norma, 105
Rape Upon Rape, 426, 458,
459
Raphael, Jay E., 400
Rapkin, David, 341, 345, 396
Rappoport, David Steven, 44,
415, 420
Rashovich, Gordana, 92
Rasmuson, Judy, 73, 97, 113,
344, 384, 388
Rasmussen, Tom, 74, 82, 87
Rasmussen, Zora, 359
Ratcliffe, Samuel D., 444
Ratliff, George, 448
Ratray, Peter, 332
Rattigan, Terence, 369
Rauber, Francois, 409
Ravelle, 418
Ravenscroft, Thuri, 358
Ravitz, Mark, 342
Rawlings, Herbert Lee Jr.,
357
Rawls, Hardy, 414
Ray, James, 116, 118
Ray, Joe, 427
Ray, Robin, 79
Ray, Stacy, 101, 102
Raye, Jillian, 83
Raymey, Nayna, 107
Raymond, Bill, 43, 421
Raymond, Marc, 428
Reale, Willie, 42, 116, 413,
414
Really Useful Company,
Ltd., The, 140, 340, 462
Reams, Lee Roy, 444
Reardon, Dennis, 101
Reardon, Jim, 106
Reason, Rhodes, 436
Reaux, Roumel, 357
Reaveslips, Sandra, 412
Reaves-Phillips, Sandra, 420
Rebhorn, James, 382
Recht, Ray, 353, 393
Red Mill, The, 399
Red Peppers, 73
Red Rain, 44, 432
Red River, 77
Red Rover, Red Rover, 432
Red Snow, 416
Redcoff, Karl, 110
Reddin, Keith, 98, 383
Reddy, Brian, 347, 408, 409
Redeemer, 28
Redeemer, The, 402
Redfield, Adam, 421, 446
Redfield, Marilyn, 426
Redgrave, Alden, 79
Redmond, Barbara, 105
Reed, Alyson, 363
Reed, Carolyn, 79
Reed, Gavin, 396
Reed, Henry, 334
Reed, Margaret, 405, 406
Reed, Pamela, 381
Reed, Penelope, 102
Reed, Rondi, 467
Reed, T. Michael, 438
Reed, Taylor, 362
Reeves, Phihp, 89
Reeve's Tale, The, 72
Regal, David, 105
Regan, Molly, 433
Regard of Flight, The, 369
Regency Romance, 424
Reich, Catherine B., 76
Reid, Fiona, 118
Reid, Graham, 424
Reid, Stephen O., 373
Reid-Dolph, Inc., 373
Reijnders, Nard, 344
Reiley, Orrin, 355
Reilly, Charles Nelson, 106
Reilly, Jacqueline, 409
Reilly, Sean, 103
Reily, George Wolf, 421
Reineke, Gary, 71, 118
Reiner, Carl, 425
Reinert, Ted, 421
Reinglas, Fred, 349, 386
INDEX
541
Reinhardt, Ray, 109
Reinking, Ann, 439
Reisch, Michele, 378
Reit, Sally Faye, 91, 92,
380
Reitman, Ivan, 350, 351, 462,
463
Rella, Francis, 397, 399
Remme, John, 347
Remsberg, Calvin, 428
Remsen, Penny, 87
Renderer, Scott, 359, 432
Rendlen, Cynthia M., 88
Rene, Norman, 373
Renfield, Elinor, 75, 375, 392
Renick, Kyle, 376, 429
Rennegal, Marilyn, 90. 112
Renton, David, 117
Renzi, Andrea, 418
Repertory Theater of Lincoln
Center, 396
Repertory Theater of St.
Louis, The, 106
Requiem For a Nun, 94
Resident Alien, 417
Resnik, Seth, 114
Resseguie, Lew, 414
Retallack, John, 432
Rettura, Joseph, 424
Reunion, 117
Revel, Harry, 370
Revson, Iris, 350
Rexroad, David, 442, 443
Reynolds, Charles, 351
Reynolds, Diane, 68
Reynolds, Jeffrey, 112, 333
Reynolds, Jonathan, 1 14, 369
Reynolds, Linda, 409
Rhapsody on a Windy Night,
340
Rheume, Susan, 102
Rhian, Glenn, 377
Rhodes, Betty, 409
Rhodes, Norman, 424, 425
Rhodes, Veronica, 360
Rhomberg, Vince, 399, 400
Rhyne. Scott, 429
Rhys, William, 79
Ribas, Marcos Caetano, 430
Ribas, Rachel, 430
Ribman, Ronald, 29, 376, 391
Ricci, Vito, 417
Riccio, Thomas, 79
Rice, Sarah, 443
Rice, Tim, 330
Rich, Frank, 40, 234, 458,
459, 460, 462
Rich, Royce, 419
Rich, Sylvester, 421
Richard III, 89, 432
Richard L. Coe Award, 465
Richards, Amy, 363
Richards, Carol, 340
Richards, Gerald, 105
Richards, Jeff, 71
Richards, Jeffrey, 367, 372
Richards, Lloyd, 97, 98, 115
Richards, Martin, 338
Richards, Noelle. 357
Richards, Paul David, 361
Richards, Paul E., 89
Richards, Scott, 116
Richardson, Gisele, 432
Richardson, James G., 42,
414
Richardson, Lea, 411
Richardson, Patricia, 98, 341
Richardson, Sally, 110, 111
Richert, Rosemary, 375
Richert, Wanda, 444
Richman, Chip, 418
Richwood, Patrick, 414
Ricossa, Maria, 84, 466
Riddett, Cecelia, 81
Riddle, Jim. 342
Ridell, Richard, 71
Rider, Elizabeth, 359
Rider, Ivan, 82
Ridge, John David, 99, 113,
372, 406
Ridiculous Theatrical Com-
pany, The, 43, 425
Riding, Catherine, 341
Ridley, Arthur, 107
Ridley, Gary, 399
Rieck, Diane, 394, 395
Rieder, Adrian, 103
Riegelman, Rusty, 414
Riek, Diane, 396
Riera, Ingrid, 416
Riffon, Marc, 428
Rifkin, Don, 415
Rigby, Harry, 330
Rigdon, Kevin, 77, 104, 388,
392. 467
Rigsby, Gordon, 346
Riley, James. 80
Riley. Larry, 442. 448
Riley, Norman, 420
Riley, Rob, 76
Rimer, Thomas, 94
Rinehart, Elaine, 419
Ringbom. John, 402
Rinklin, Ruth E., 347
Risberg. Del W., 73
Rise and Rise of Daniel
Rocket, The, 423
Rise of David Levinsky,
The, 430
Riseman, Naomi, 402, 403,
424
Riserbato, Angie, 72
Risley, Ann, 88
Risoli, Anthony, 426
Risser, Patricia, 94
Ristic, Ljubisa, 417
Ritchie, Lynn, 78
Ritchie, Michael F., 335, 336
Ritschel. Jack, 333
Ritz, The, 15, 35, 67, 362
Ritz Quartette. 20
Rivals, The, 86
Rivera, Chita, 350, 462
Rivera, Jose, 413
Rivera, Marcelino, 415
Rivera, Michael, 431
Rivers, Fred, 384
Riverside Shakespeare Com-
pany, 432
Roach, Eric, 350
Roach, John, 351, 360. 365
Roach, Max, 420
Robards, Jason, 9, 34, 355
Robare, Mary C. 352
Robb, R. D.. Ill
Robber Bridegroom, The,
79, 414
Robbins, Jana, 429
Robbins, Jane Maria, 372
Robbins, Kenneth, 82
Robbins. Mark, 88
Robbins, Rex, 441
Robbins, Tom, 408, 423
Roberts, Chapman, 331, 443
Roberts, Eric, 85. 446
Roberts, Eve, 107
Roberts, Gary, 101, 102
Roberts, Grace, 431
Roberts, Iris Little, 72
Roberts, Jeremy, 109
Roberts, Jimmy. 404
Roberts. Judith. 106, 425
Roberts, Ruth, 418
Roberts. Tarah. 95
Robertson. Alene, 466
Robertson. David. 357
Robertson. Joel. 340
Robertson. Lillie. 351
Robertson, Liz, 364
Robertson, Loretta, 378, 396
Robertson, Toby, 74, 75, 405
542
INDEX
Robertson, Warren, 429
Robinson, Andrew Jr., 420
Robinson, Dorothy Marie, 68
Robinson, Hal, 443
Robinson, Mabel, 412
Robinson, Martin P., 30, 376,
377, 446, 466
Robinson, Mary B., 85
Robinson, Patrick, 76
Robinson, Todd, 431
Robitschek, Ray, 117
Robman, Steven, 396, 419
Rocco, Jamie, 448
Rocco, Mary, 360
Rocheng, Ying, 423
Rock, Marcia, 80
Rock County, 413
Rock 'n Roll! The First
5,000 Years, 20, 67, 342
Rockaby, 76
Rockafellow, Marilyn, 100
Rockettes, The, 358
Rodger, D. King, 371
Rodger. David K., 380, 382
Rodgers, Bruce E., 102
Rodgers, Carolyn M., 420
Rodgers, Mary, 38, 117
Rodgers, Richard, 22, 32, 76,
87, 95, 101, 117, 352, 370
Rodin, Gil, 329
Rodriguez, Roland, 362
Rogan, John, 359
Rogers, Harriet, 418
Rogers, Irma, 397, 399
Rogers, Jay, 332
Rogers, Ken Leigh, 20, 361
Rogers, Poli, 421
Rogers, Rod, 379
Rogers, Shelley, 423
Rogers, Synthia, 82
Rogers, Wayne M., 354
Roggensack, David, 335, 344
Rohrig, WiUiam, 1 1 1
Romagnoli, Richard V., 432
Roman, David, 358
Romano, Denise, 375
Romberg, Sigmund, 399
Romeo and Juliet, 69, 111
Romoff, Woody, 1 1 1
Ronrico, Lattilia, 357
Ronstadt, Linda, 447
Rooks, Joel, 97
Room Service, 94
Roop, Reno, 97
Roos, Casper, 361
Roose-Evans, James, 7, 17,
344
Ropes, Bradford, 330
Rosa, Dennis, 420
Rosamond Gilder Award,
466
Rosario, Stephen, 398, 399
Rosato, Mary Lou, 78, 408
Rose, Cristine, 94, 425
Rose, Earl, 414
Rose, George, 8, 364, 447
Rose, Kristi, 427
Rose, Renee L., 357
Rose, Rhonda, 421
Rose, Stephen, 76
Rose, Susan R., 347
Rose Marie, 37, 396-398
Roseen, Irene, 81
Rosegg, Carol, vii
Roseman, Arlene, 371
Rosenberg, Alan, 392
Rosenberg, Jan, 378
Rosenberg, Joe, 93
Rosenblatt, Marcell, 98, 374
Rosenblum, M. Edgar, 95
Rosenfield, Betsy, 408
Rosengren, Clive, 80
Rosenstein, Ira, 424
Rosenstock, Susan, 408, 409
Rosenthal, Jesse, 421
Rosetti's Apologetics, 427
Roslevich, John Jr., 106
Rosnik, Brian, 414
Rosoif, Barbara, 100
Rosqui, Tom, 81
Ross, Becca, 88
Ross, Carolyn L., 106
Ross, Jordan, 85
Ross, Justin, 440
Ross, Philip Arthur, 352
Ross, R. Bruce, 424
Ross, Sandra, 392, 420
Ross, Sharlene, 72
Ross, Steven, 352
Ross, Stuart, 415
Ross, Ted, 420
Rosser, Kip, 414
Rossi, Richard, 73
Rossoff, Barbara, 101
Rostand, Edmond, 105, 369
Rotenberg, David, 84, 87
Roth, Ann, 97, 335, 336
Roth, Bernard, 427
Roth, Michael S., 377, 378
Roth, Nina, 371
Roth, Wolfgang, 370
Rothbard, Richard, 443
Rothenberg, Karly, 397, 399
Rothhaar, Michael, 414
Rothman, Carole, 43, 419,
425
Rothman, John, 413
Rothman, Stephen, 105
Roudebush, William, 79
Roundabout Theater Com-
pany, 25, 29, 35, 369, 372,
383
Rounds, David, 29, 375, 376,
466
Rouse, Barbara, 397, 398,
399
Rousseau, Denis, 118
Routh, Marc, 116
Roven, Glen, 112
Rovere, Craig, 71
Rowand, Nada, 78, 427
Rowe, Sandy, 82
Rowe, Stephen, 76
Rowell, Mary, 375
Rowles, Polly, 111, 345
Rowley, William, 414
Royal Court Theater, 23, 24,
29, 388, 391, 464
Royal Family, The, 105
Royal Shakespeare Company,
3,11,34,341,358,359,365
Rozie, Keith, 411
R.S.V.P., 25, 379
Rubenfeld, Ken, 414
Rubens, Herbert, 424
Rubin, Charles, 376
Rubin, Leon, 88
Rubin, Margaret, 70
Rubin, Steven, 87, 97, 108
Rubinstein, David, 385
Rubinstein, John, 33, 111,
336
Rubsam, Scott, 419
Ruck, Allan, 77
Rudd, Paul, 81
Rudder, Michael, 118
Ruddigore, 399
Rudner, Rita, 437
Rudolph, Stephanie, 421
Rudy, Sam, 370, 376, 384,
385, 392, 393
Ruehl, Mercedes, 102
Ruel, Francine, 118
Ruffian on the Stair, The,
422
Ruisinger, Thomas, 383
Rumba, 421
Rupert, Gene, 442
Rupert, Sharon, 399
Rupnik, Kevin, 85, 337, 388
Ruppert, Tait, 95
INDEX
543
Ruscio, Elizabeth, 419
Rush, Deborah, 374, 387, 448
Ruska, Dani, 376
Ruskin, Jeanne, 109, 384
Russ, R. Sebastian, 423
Russell, Anna, 101
Russell, Bing, 341
Russell, Michael, 72
Russell, Willy, 72
Russo, James, 8, 22, 26, 401,
465
Russom, Leon, 419, 422, 432
Ruta, Ken, 94, 109, 113
Rutgers Theater Company,
402
Ruzika, Donna, 82
Ruzika, Tom, 74, 82
Ryack, Rita, vii, 7, 20, 22,
361, 463
Ryan, Frank P., 424
Ryan, James, 413
Ryan, Kenneth, 416, 428
Ryan, Roz, 69
Rybolt, Peter, 93
Ryder, Richard, 393
Ryland, Jack, 74
Ryton, Royce, 30, 405
Sabellico, Richard, 431, 436
Sabin, David, 364
Sabol, Dick, 101
Sacco, John, 399
Sachs, Ann, 375
Sachter, Robert L., 409
Sacks, Michael, 418
Saddler, Donald, 352, 463
Sadler, Bill, 385, 421, 440
Saffran, Christina, 438, 449
Safier, Alan, 414
Safranek, Penelope, 428
Saft, Stephanie, 91
Sager, Carole Bayer, 329
Saia, Louis, 1 1 8
Saigon Rose, 434
Saint, Eva Marie, 35, 84, 383
Saint Joan, 431
Saint-Subber, 355
Sakash, Evelyn, 413
Saks, Gene, 88, 354, 463
Saks, Gidon, 119
Salata, Gregory, 116
Sale, James, 71, 87, 109, 111
Sale, Richard, 94
Sales, Mitzi, 73
Salinsky, Kenneth, 357
Salisbury Productions, Ltd.,
388
Salkin, Edward, 341
Sallahian, Loris, 418
Salomon, Wayne, 106
Salsbury, Colgate, 419
Saltz, Amy, 78, 115, 116,408
Saltz, Michael, 379
Saltzman, Harry, 346
Samuels, Steven, 425
San Francisco Mime Troupe,
44, 433
Sanchez, Esteban Fernandez,
418
Sanchez, Jaime, 415
Sand Castles, 65, 91
Sandek, Barbara, 424
Sanders, Fred, 92
Sanders, Jay O., Ill, 336
Sanderson, Barbara, 84
Sandy, Gary, 447
Saners, Fred, 91
Sanford, Beth, 86, 87
Sanford, Tobey, 417
SanJuan, Christina, 415
Sankowich, Lee, 81
Sannes, Loyd, 101
Santacroce, Mary Nell, 71
Santana, Jose, 93, 392, 413
Santander, Felipe, 93
Santiago, Saundra, 349
Santiago, Socorro, 419, 427
Santo, Michael, 1 1 1
Santos, Loida, 431, 439
Santvoord, Van, 394, 395,
396
Sapp, James, 332, 352, 355,
365, 373, 403
Sappington, Margo, 333
Sarallen, 402
Sarandon, Chris, 112
Sarandon, Susan, 8, 26, 401,
402
Sardi, George, 362
Sargent, Peter E., 106
Sarno, Janet, 425
Sarnoff, Rosita, 406
Saroyan, William, 370
Sartre, Jean-Paul, 431
Sasso, Dick, 371
Sato, Shozo, 466, 467
Saucier, Claude-Albert, 347
Saunders, Nicholas, 432
Saunders, Susan, 106
Savage, Aileen, 431
Savage, Melodee, 412
Savage, Myles Gregory, 357
Savella, Marcia, 414
Saviola, Camille, 418
Savitt, Cheryl, 399
Savitt, Rene, 424
Sawyer, Raymond, 432
Sayan, Levon, 354
Sbarge, Raphael, 390
Scalaci, Gillian, 438
Scalzo, Joseph, 371
Scarpone, Judy, 1 13
Scassallati, Vincent, 88
Scenes From American Life,
87
Schacht, Sam, 388
Schachter, Steven, 98, 99,
113, 382
Schaefer, Laura, 88
Schaeffer, Karl, 82
Schafer, Denise, 414
Schafer, Reuben, 420
Schaffner, Lester J., 434
Schafranek, Franz, 427
Schall, Thomas, 115
Schanzer, Jude, 426
Schappert, Edna, 424
Scharfenberg, Paul, 107
Scharfenberger, Paul, 95
Schecter, Amy, 371
Schein, Gideon, 419, 420
Scheine, Raynor, 408, 427
Schelble, William, vii
Schenk, Tom, 88
Schenkar, Joan, 419
Schenkkan, Robert, 116, 413
Scherer, Ken, 374
Schermer, Phil, 110
Schermer, Shelley Henze,
110
Schickele, Peter, 329
Schierholz, Peg, 336
Schierhorn, Paul, 76
Schiff, Eric, 413
Schimmel, John, 330
Schimmel, William, 372, 421
Schirner, Buck, 78
Schisgal, Murray, 4, 16, 17,
343
Schissler, Jeffrey, 423
Schlegel, Jeanne, 94
Schlesinger, Sarah, 101
Schlosser, Ira, 103
Schlotter, Karen, 398
Schmidt, Douglas W., 108,
357, 377, 465
Schmidt, Harvey, 105, 369,
429
Schmidt, Hilary, 424
Schmidt, Jack, 432
Schmitt, David, 405
544
INDEX
Schmitt, Jamie, 116
Schnabel, Stefan, 78
Schnaterbeck, Conley, 333
Schneeberger, Paul, 359
Schneider, Alan, 77, 405, 406
Schneider, Barbara, 92, 428
Schneider, Elia, 417
Schneider, Jana, 94
Schneider, Larry, 86
Schneider, Melody, 398
Schnirman, David, 344, 355,
362, 465
Schoenbaum, Donald, 94
Schoenbaum, Milly, 354,
377, 401
Schoenfeld, Gerald, 39
Schoer, Allen, 371
Schofield, B-St. John, 421
Scholem, Richard, 460
School for Scandal, The, 76,
431
School Talk, 89
Schoonmaker, Charles, 420
Schramm, David, 336, 408
Schreiber, Terry, 7, 15, 355
Schreier, Daniel M., 374, 391
Schreiner, Warner, 425
Schroder, William, 69, 79,
113, 338
Schuck, John, 436
Schuler, Duane, 95, 109
Schuler, Roche, 76
Schull, Rebecca, 415, 427,
428
Schulman, Charlie, 386, 387
Schulman, Susan L., 332, 396
Schultz, Catherine, 431
Schultz, Dwight, 98
Schulz, Charles M., 31, 400
Schulz, Karen, 77, 85, 87, 99
Schurmann, David, 117
Schurr, Carl, 75, 105
Schuster, Alan J., 331, 462
Schuster, David, 88
Schwab, John, 414
Schwab, Sophie, 76
Schwartz, Bruce D., 412
Schwartz, Clifford, 352
Schwartz, Laurence F., 98
Schwartz, Stephen, 101
Schweid, Carole, 393, 439
Scofield, Ann, 428
Scofield, Pamela, 105
Scott, A. Robert, 336
Scott, Campbell, 336
Scott, Carol Ann, 443
Scott, Dennis, 115, 116
Scott, Duncan, 335
Scott, George C, 8, 34, 335
Scott, Harold, 75
Scott, Les, 347
Scott, Pippa, 95
Scott, Robert Owens, 432
Scott, Seret, 98, 116
Scott, Timothy, 9, 11, 340,
439
Scott- Wood, Mara, 110
Scraps, 387
Screenplay, 114
Scruggs, Sharon, 332
Scudder, Rose, 432
Scurria, Anne, 102, 103
Sea Lion, The, 82
Sea Marks, 79, 106
Seagull, The, 106
Seale, Douglas, 80, 81
Seaman, David, 338
Seamon, Edward, 97, 413
Seance, 417
Sears, Joe, 27, 86, 388
Seattle Repertory Theater,
111
Seawell, Donald R., 352, 463
Sebek, Herman W., 340
Second Stage, The, 43, 425
Sederholm, Karen, 75
Sedgwick, Dan B., 382
Seer, Richard, 75, 77
Seff, Richard, 413
Segal, David F., 108, 372,
408
Segal, Kathryn King, 418
Segall, Pamela, 354
Seger, Richard, 89, 108, 109
Seidel, Virginia, 414
Seidman, John, 347
Seifter, Harvey, 419
Seitz, John, 35, 114, 374
Sekacz, Ilona, 391
Selby, James, 100
Selch, Frederick R., 332
Seldes, Marian, 43, 425
Selman, Linda, 391, 419
Selzer, Milton, 84, 383
Seneca, Joe, 116
Senita, Susan, 104
Senn, Herbert, 360
Sennett, David, 392
Senorita From Tacna, The,
415
Senske, Rebecca, 79, 104,
117
Seppe, Christopher, 378, 444
September Song, 424
Serban, Andrei, 76, 94
Serotta, Judd, 98
Serrano, Nestor, 415
Setrakian, Edward, 379
Seven Brides for Seven
Brothers, 18, 40, 67, 333,
462
Seventh Day, The, 424
Severs, William, 413
Sevier, Jack, 431
Seward-McKeon, Mary, 91
Seyd, Richard, 429
Seyler, Michele, 436
Seymour, James, 100
Seymour, Jane, 436
Shadow Play, 73
Shaffer, Anthony, 14, 348
Shaffer, Louise, 418
Shaffer, Peter, 330
Shaheen, Dan, 429
Shaiman, Marc, 418
Shain, Charles Edward, 419
Shakesnider, Wilma A., 357
Shakespeare, William, 32, 34,
37, 38, 69, 70, 71, 73, 75,
76, 80, 87, 88, 89, 90, 92,
93, 98, 101, 103, 105, 107,
108, 111, 112, 114, 115,
118, 358, 370, 374, 388,
405, 418, 421, 423, 429,
432
Shakespeare Marathon, 421
Shalhoub, Tony, 76
Shaliko Company, 337
Shallat, Lee, 81
Shallo, Karen, 98
Sham, Peter, 399
Shambourger, Sharon, 419,
428
Shange, Ntozake, 72
Shango Diaspora, 420
Shank, Adele Edling, 43, 65,
91, 425
Shank, Theodore, 91
Shanley, John Patrick, 413,
420
Shapiro, Debbie, 331
Shapiro, Louis, 344
Shapiro, Mel, 89
Sharbutt, Jay, 462
Sharing, 415
Sharkey, Gary, 359
Sharp, Geoffrey, 425
Sharp, Michael, 371, 383,
384, 415
Sharpe, David, 370
Sharpe, Deborah Lynn, 377
INDEX
545
Shaw, Anthony, 88, 346
Shaw, Christopher J., 69
Shaw, Deborah, 385, 413,
415, 423
Shaw, George Bernard, 37,
38, 62, 69, 70, 71, 81, 92,
94, 97, 101, 103, 109, 110,
117, 119, 370, 383, 408,
431
Shaw, Marcie, 375
Shaw, Margery, 93
Shaw, Robert, 430
Shaw, Vanessa, 68, 432
Shawhan, April, 100
Shawn, Allen, 375, 390
Shaw-Robinson, Charles, 78,
408, 409
Shay, Michele, 374
She, Lao, 42, 423
She Also Dances, 65, 66, 81,
82
She Stoops to Conquer, 75,
115
Sheffield, Buddy, 332
Sheffield, David, 332
Sheffield, Dick, 332
Shea, John, 44 i
Shearin, John, 432
Sheffer, Isaiah, 430
Sheffer, Jonathan, 381, 404,
418
Shein, Brian, 431
Sheiness, Marsha, 101
Shell, Claudia, 350
Shell, Sheryl, 357
Shelley, Carole, 34, 119, 336
Shelley, Ronald, 80
Shelter West, 425
Shelton, Kent, 351
Shelton, Reid, 81, 436
Shelton, Sloane, 85, 116,415
Shelton, Timothy, 82
Shen, Freda Foh, 390, 391,
423
Shenar, Paul, 89, 101
Shendel, Earl, 333
Shepard, John, 349
Shepard, Kiki, 338, 357
Shepard, R., 338
Shepard, Sam, 27, 37, 44, 46,
60, 61, 75, 93, 113, 115,
329, 386, 387
Shepherd, Gwendolyn, 357
Sheppard, Julie, 379
Sheridan, Jamey, 371, 390
Sheridan, Richard Brinsley,
38, 76, 86, 431
Sheridan, Wayne, 431
Sherin, Edwin, 111, 366
Sherin, Ned, 117
Sherman, Arthur, 33, 111,
336
Sherman, Geoffrey, 75, 415
Sherman, Guy, 431
Sherman, Howard, 408, 427
Sherman, Keith, 355, 365,
396, 404, 408
Sherman, Loren, 415, 423
SherriflF, R. C, 113
Sherwin M. Goldman Pro-
ductions, 357
Sherwood, Robert E., 20, 363
Shevelove, Burt, 114
Shevlin, Maggie, 410
Shields, Dale, 420
Shiflfman, J. Fred, 114
Shikhverg, Ludmila, 431
Shim, Pete, 72
Shiomi, R. A.,42, 46, 67, 423
Shirley Herz Associates, 370,
376, 384, 392, 393, 399
Shivaree, 111
Shlaes, Geoffrey, 431
Shlenker, Sidney, 338, 347,
349, 463
Shodeinde, Shope, 410
Shook, Robert, 85, 467
Short, John, 91
Short, Sylvia, 429
Shortt, Paul R., 79
Shoup-Sanders, Carol, 91
Show Boat, 6, 33, 67, 359-
360, 460, 462, 463, 466
Show-Ofif, The, 73
Shropshire, Anne, 78
Shropshire, Noble, 394, 395,
396
Shub, Vivienne, 73
Shubert, Fannie, 72
Shubert Foundation, 39
Shubert Organization, The, 6,
39, 140,340,341,349,353,
355, 358, 376, 404, 462.
463
Shue, Larry, 61, 62, 72,93,94
Shulman, Max, 370
Shuman, Mort, 409
Shurin, Sande, 384
Shyre, Paul, 73
Sibanda, Seth, 402
Sibbald, George, 81
Sickle, Luke, 409
Sicular, Robert, 70, 71
Sidden, Duane, 415
Side by Side by Sondheim,
117
Sidney, P. Jay, 403
Siebel, Paula, 432
Siefert, Lynn, 97, 116
Siegel, Arthur, 432
Siegel, Joel, 460
Siegler, Ben, 386, 413
Signs of Life, 419
Silber, Chic, 347
Silver, Joan Micklin, 386,
413, 414
Silver, Joshua, 331
Silver, Nicky, 424
Silver, Robert, 392
Silver, Ron, 77
Silver Tassie, The, 426
Silverman, Jeffrey, 432
Silverman, Stanley, 362, 432
Silvers, Samuel, 399
Silverstein, Shel, 30, 77, 408
Silvestri, Martin, 359
Simione, Donn, 438, 440
Simmons, Bonnie, 11, 340
Simmons, Kim, 82
Simmons, Pat, 81
Simo, Ana Maria, 415
Simon, Alfred, vii, 262, 398
Simon, Barney, 402
Simon, John, 234, 342, 458,
459, 460
Simon, Neil, 4, 17,40,68,88,
111, 117, 354, 414, 458
Simon, Nina, 354
Simon, Scott, 347
Simon, Steven Gary, 420
Simonds, Clodagh, 417
Simonides, Yannis, 431
Simons, David, 428
Simotes, Tony, 431
Simpson, James A., 414
Simson, Wanda, 75
Sinclair, Nancy, 444
Singer, Connie, 98
Singer, David, 97
Singer, Reuben, 364
Singhaus, Sam, 333
Singular Life of Albert
Nobbs, The, 25, 27, 371,
464
Sinise, Gary, 37, 388, 465,
466
Sinkys, Albert, 430
Siretta, Dan, 95
Sirotta, Michael, 422
Sisk, Kathleen, 436
Sisson, Leslie Hardesty, 338
546
INDEX
Sister Mary Ignatius Ex-
plains It All for You, 369,
448, 466, 467
Sisters, 73
Sisti, Michelan, 432
Sisto, Rocco, 390
Six Canterbury Tales, 110
Six O'clock Boys, The, 369
Skelton, Patrick, 422
Skelton, Thomas, 334, 360,
364
Skeoch, Skipper, 82
Skiles, Kevin, 105
Skiles, Steve, 443
Skin of Our Teeth, The, 107
Skina, Eve, 365
Skinker, Michael T., 114
Skinker, Sherry, 103
Skinner, Doug, 369
Skinner, Margo, 102
Skipper, Patterson, 98
Skirmishes, 3, 25, 28, 380-
383, 458, 459, 465
Slab Boys, 3,7,8, 12,22,67,
353, 458, 459
Slacks and Tops, 380-382
Slade, Bernard, 117
Slaiman, Marjorie, 115
Slap Happy, 432
Slater, Christian, 350
Slaughter on Tenth Avenue.,
32
Sleep of Reason, The, 73
Sleeping Prince, The, 8 1
Sleepover, 424
Sleuth, 14
Slezak, Victor, 110
Sloan, Gary, 92, 93, 394, 395,
396
Sloan, Suzanne, 71
Slotnick, Jeff A., vii
Slutsker, Peter, 352
Smadbeck, David, 72
Small, Larry, 338, 339
Small, Neva, 373
Small, Peg, 88, 466
Small, Tom, 88
Smalls, Alexander, 357
Smart, Annie, 391
Smart, Jeff, 80
Smartt, Michael V., 357, 462
Smiar, Brian, 78
Smiles Of A Summer Night,
71
Sminkey, Tom, 424, 426
Smith, Allison, 436
Smith, Anna Deavere, 416
Sm:
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
Sm
th, Audrey, 433
th. Baker S., 88
th, Barbara, 420
th, Bradley Rand, 375
th, Brandon, 86
th, Cameron, 113, 114
th, Caroline, 107
th, Danyl, 420
th, Deatra, 105
th, Ebbe Roe, 89
th, EHzabeth, 84
th, Ennis, 418
th, Esther, 428
th, Geddeth, 93, 347
th. Gene Franklin, 424
th, Helen C, 67
th, J.T., 117
th, L., 417
th, Lionel Mark, 77, 392
th, Lisa, 397
th, Lois, 370
th, Marcee, 82
th, MaryAnn D., 425,
426
th, MeHssa, 416
th, Miranda, 400
th, Nick, 419, 420
th, OHver, 7, 344
th, Paul Gerard, 361
th, Penelope, 374
th, Preston Keith, 419
th, Priscilla, 89
th, Rex, 447
th, Robyn Lyn, 424
th, Roger, 111, 345
th, Stephen Gates, 102
th, Stuart, 370
th, Virginia Masterman,
424
Smith, Yeardley, 114
Smith-Cameron, J., 429, 441
Smits, Jimmy, 390, 392
Smoot, Andrew, 85
Smythe, Sally, 73, 109
S.N.A.F.U., 433
Snell, David, 442
Snizek, David, 400
Snoopy, 25, 31, 400
Snovell, William, 365, 386
Snow, Donna, 106
Snow, Leida, 460
Snyder, Nancy, 16, 349, 386
Snyder, Rick, 84
Soap, 431
Sohbin' Women, The, 333
Soboil, Maggie, 402
Soboloflf, Suzanne, 370
Society of Stage Directors
and Choreographers, 39
Sod, Ted, 392
Soeder, Fran, 429
Sogard, Harold, 396
Sohmers, Barbara, 114, 382
Soho Rep, 426
Sokol, Marilyn, 98, 430
Sokolov, Elliot, 415, 428
Sokolow, Anna, 370
Soldier's Play, A, 28, 77, 89,
369, 448
Solis, Octavio, 84
Solomon, Shaun, 342
Solowitz, Larry, 71
Soltanoff, Philip, 424
Solters / Roskin / Friedman,
Inc., 341, 345, 346, 347,
354, 357, 359, 360, 377,
401
Some Kind of Love Story,
95, 97
Some Men Need Help, 25,
27, 392
Some Rain, 116
Somers, Brett, 431
Somers, Marykatherine, 333
Somerville, Barbara, 97
Somerville, Phyllis, 72, 355
Something Dififerent, 425
Somlyo, Roy A., 344
Sommer, Josef, 97, 386
Sommer, Marilyn, 97
Sommers, Avery, 87, 412
Sommers, Bryon, 404
Somner, Pearl, 7, 344
Sondheim, Stephen, 71, 114,
117, 431
Songs of the American Thea-
ter, 262
Sons and Fathers of Sons,
25, 29, 402
Soon, Terence Tom, 90
Soper, Mark, 429
Soper, Tony, 72
Sophisticated Ladies, 38,
330, 448, 449
Sophocles, 369, 431
Sore Throats, 106
Sorel, Theodore, 88, 346
Sorkin Manson, Aria, 341
Sorribas, Jaume, 416
Soule, Don, 76
Soule, Robert D., 103
Soules, Dale, 91
SoundScape, 433
Sousa, John PhiHp, 329
INDEX
547
Sousa, Pamela, 440
South Coast Repertory, 65,
66, 81, 82
South Street Theater, 370,
384, 427, 433
Southern, Hugh, 40
Spacey, Kevin, 337
Spackman, Tom, 93, 394,
395, 396
Spangler, David, 371
Sparer, Kathryn C, 423
Sparer, Paul, 102, 419
Sparks, Adrian, 98, 415
Spaulding, Don, 71, 80
Speakeasy: An Evening Out
With Dorothy Parker, 413
Spear, Cary Anne, 114
Spear, David, 351
Special Occasions, 117, 118
Speigel, Barbara, 431
Speller, Robert, 362, 417
Spence, Randell, 386
Spencer, Alexander, 366
Spencer, Alton, 360
Spencer, Bob, 443
Spencer, Frank, 358
Spencer, John, 77
Spencer, Lynne, 72
Spencer, Robert, 75
Spencer, Stuart, 414
Spera, Robert, 92
Sperberg, Fritz, 92, 105
Spewack, Bella and Samuel,
81
Spialek, Hans, 33, 352, 466
Spiegel, Terry, 403
Spiegels, 417
Spiller, Tom, 394, 395, 396
Spillman, Harry, 431
Spindell, Ahvi, 431
Spinola, Marina, 376
Spiro, Kate, 341
Spivack, Larry, 408
Spokesong, 69
Spolan, Jeffrey, 423
Spore, Richard, 76
Sprague, Jonathan, 357
Spratt, Nadyne Cassandra,
104
Spray, Tom, 85
Springer, John, 337
Sproat, Ron, 414
Squibb, June, 433
St. Joan, 62
St. John, Marco, 87
St. Mark's Place, 424
Stabile, Bill, 113, 332, 417
Stacklin, Andy, 387
Stafford, Annie, 80, 92
Stafford, Deidre, 428
Stafford, Jeanne, 428
Stafford, Ronald, 440
Stafford-Clark, Max, 390, 464
Stage That Walks, The, 412
Stages, 64
Stagewest, 116, 117
Stahl, Andy, 424
Stallings, William, 371
Stamper, Peggy, 414
Stancil, William, 93
Standing on My Knees, 25,
27, 379-383, 466, 467
Stanley, Dorothy, 437
Stanley, Florence, 1 1 1
Stanley, Pamala, 404
Stansbury, Hope, 379
Staples, Ruthe, 432
Stapleton, Christopher, 423
Starburn, 427
Starcevic, Mihajlo, 432
Stark, John, 432
Stark, Robert, 411
Stark, Sally, 346
Starobin, Michael, 376, 378
Staroselsky, Edward, 417
Starr, Lita, 336
Stasio, Marilyn, 458, 459,
460
Stattel, Robert, 74, 372, 386
Stauffer, Michael, 72
Steaming, 3,7, 8, 12,67, 111,
345, 462, 465, 466
Steele, Carol, 354
Steelman, Ron, 92, 93
Steeple Jack, 101
Steere, Jim, 429
Steffens, Connor, 91
Steffy, Don, 333. 352
Stehlin, Jack, 374
Stehlin, John, 405, 406
Stein, Daniel, 44, 431, 433,
465
Stein, Paula, 465
Stein, Douglas, 87, 108, 425
Stein, Gertrude, 432
Stein, James, 442
Stein, Joan, 404
Stein, June, 413
Stein, Leo, 399
Stein, Mark, 380
Stein, Meridee, 69
Steinbach, Victor, 419
Steinberg, Roy, 432
Steindler, Maureen, 105
Steiner, Eric, 84
Steiner, George, 85
Steiner, Sherry, 440
Steinhardt, Seymour, 460
Steinweiss, Leslie, 384
Stelly, Stuart, 424, 425
Stenborg, Helen, 413
Stender, Douglas, 75, 367
Step on a Crack, 84
Stephens, Ann, 84
Stephens, Cliff, 82
Stephens, Daniel, 84
Stephens, Kent, 71, 72, 80
Stephens, Linda, 71, 80
Stephens, Robin, 364
Stephens, T.A., 448
Stephens, Thomas W., 84
Stephenson, Denise, 106, 381
Stephenson, Geraldine, 359
Stephenson, Laurie, 431
Sterling, Clark, 333
Sterman, Maurice, 431
Stern, Darrell, 374
Stern, Edward, 80, 84, 113
Stern, Eric, 429
Stern, Kimberly, 338
Stern, Leo, 344, 362, 405
Stern, Madeleine, 428
Sternberg, Jennifer, 81, 415
Sterne, Richard, 347
Sterner, Steve, 426
Sternhagen, Frances, 381,
441
Steve and Steve, 424
Stevens, Andrew, 107
Stevens, Cat, 329
Stevens, Fisher, 332
Stevens, Hank, 417
Stevens, John Wright, 418
Stevens, Leon B., 336
Stevens, Rita Rene, 81
Stevens, Roger L., 6, 337.
352, 365, 463
Stevens, Susan, 100, 415
Stewart, Benjamin, 113, 114
Stewart, Don, 442
Stewart, Ellen, 42, 44, 416
Stewart, Kate MacGregor,
387, 440
Stewart, Malcolm, 428
Stewart, Michael, 330
Stewart, Thomas A., 100
Stewart, William. 85
Stickup, The, 92
Stiers, Donald Ogden, 107
Stiles, Mona, 100
Stilgoe, Richard, 10, 340
548
INDEX
Still Life, 108
Stillman, Robert, 432
Stillwell, Elizabeth, 90
Stinson, George, 398
Stinton, Colin, 382, 392
Stitchers and Starlight Talk-
ers, 116
Stitt, Milan, 413
Stockdale, Muriel, 422, 427,
428
Stockman, Todd, 419
Stockton, Carlisle, 419
Stockton, Cheryl Lee, 376
Stoeckle, Robert, 92
Stoller, Amy, 428
Stoller, Jennie, 391
Stoller, Mike, 329
Stone, Danton, 16, 349, 386
Stone, Edward, 73, 378
Stone, Harold, 94
Stone, Jeremy, 359
Stone, Peter, 3, 4, 19, 20, 22,
330, 360, 462
Stone, Rocky, 41 1
Stone, Ron M., vii
Stoppard, Tom, 74, 114
Storch, Arthur, 16, 113, 343
Storch, Larry, 357
Story of Don Cristobal,
The, 423
Story of Macbeth, The, 108
Stothart, Herbert, 396
Stough, Raymond, 420
Stout, Mary, 400
Stout, Stephen, 441
Strafford, James, 419
Straiges, Tony, 85, 115, 380,
381
Stram, Henry, 408, 409, 428
Strane, Robert, 105, 107
Straney, Paul, 338
Strange, Robin, 430
Strange Snow, 78, 108
Strasberg, John, 347
Stratagem, 424
Stratford Festival, 118, 119
Strathairn, David, 116
Stratman, Daniel, 409
Stratton, Allan, 399
Straub, John, 381
Strauss, Edward, 357
Strauss, Johann, 399
Strauss, Natalie, 419
Strawbridge, Stephen, 98
Strayhorn, Dan, 412
Streetcar Named Desire, A,
100, 111, 117
Strega, or the Witch, 115
Strege, Gayle M., 94
Strelich, Thomas, 82
Stretch of the Imagination,
A, 104
Strickler, Dan, 111, 114
Strickman, Bonnie, 102
Strindberg, August, 37, 70,
396, 422, 431
Stroman, Guy, 436
Stroman, Kevin L., 357
Stromer, Stephanie, 333
Strong, Gwen, 431
Strother, Bernard, 391
Strouse, Charles, 20, 69, 329,
363
Strozier, Henry, 114, 115
Struckman, Jeffrey, 117
Struthers, James, 425
Stryk, Lucian, 77
Stryker, Christopher, 332
Stuart, Ian, 68, 85, 103
Stuart, Liza, 443
Stuart, Michel, 440
Stuart, Scott, 80
Stuart-Morris, Joan, 69, 70,
71
Stuartris, Joan, 71
Stubbs, Louise, 429
Stuck, 65
Studio Arena Theater, 75
Stuhl, Alex, 429
Sturchio, Mai, 371, 372, 375,
384, 387, 413
Sturgis, Richard, 387
Styne, Jule, 117
Suanda, Endo, 417
Suarez, Regina, 415
Suarez, Roberto Rodriguez,
423
Suarez, Tom, 354
Sudik, James W., 84, 466
Sugar Babies, 330, 449
Sulhvan, Arthur, 32, 37, 72,
119, 330, 396, 399, 432
SulHvan, Brad, 336, 341
Sullivan, Daniel, 61, 62, 111
Sullivan, Greg, 74, 82, 87,
109
Sullivan, Jean, 427
Sullivan, Jennifer, 432
Sullivan, John Carver, 87, 88,
106, 117, 351
Sullivan, Michael, 421
Sullivan, Paul, 381
Sullivan, Sean, 118
Summer, 25, 28, 380-383
Summer Vacation Madness,
94
Summerhays, Jane, 437
Summers, Caley, 79
Summers, Leon Jr., 412
Summers, Michele, 89
Sunday Afternoon, 431
Sunde, Karen, 30, 393, 394,
395, 431
Sundsten, Lani, 340
Sung, Elizabeth, 423
Sunset Freeway, 380-382
Sunset/Sunrise, 65
Supervielle, Jules, 428
Suro, Teresita Garcia, 77
Surovy, Nicolas, 355, 441
Survivalist, The, 413
Sus, 415
Susan, Black-Eyed, 425
Susan Bloch & Co., 372, 383
Sussman, Karen, 397, 399
Suter, William P., 347, 355
Sutherland, Brian, 364
Sutro, Alfred, 370
Sutton, George, 92
Sutton, John, 341
Sutton, Michael, 371
Svitzer, Daud, 376
Swados, Elizabeth, 44, 417
Swain, J. D., 100
Swan, Scott, 118
Swan, William, 431
Swann, Elaine, 429
Swann, SterHng, 384
Swanson, Bea, 72
Swanson, Maura, 102, 415
Swanwhite, 431
Swartz, Marlene, 426
Swedeen, Staci, 414
Swee, Daniel, 415
Sweeney, Paula, 432
Sweet, Jeffrey, viii, 66, 67, 92,
174
Sweet Basil, 78
Sweet Prince, 428
Swemer, Eric, 103
Swetland, William, 85, 95, 97
Swing Shift, 101
Swooning Virgin, The, 72
Swope, Martha, vii, 140
Swope, Tracy Brooks, 346
Synge, John Millington, 80
Syracuse Stage, 113, 355, 403
Syversten, Peter, 84
Szaba, Jeremy, 359
Szatmary, Rivka, 394, 395,
396
I
INDEX
549
Szelag, Daniel, 72, 73
Szlosberg, Diana, 415
Szogi, Alex, 98
Tabaka, Victoria, 438
Tabori, Kristoflfer, 81
Tackus, Sallyanne, 97
Taikeff, Stanley, 419
Tait, Pam, 390
Takada, Miohisa, 354
Takazauckas, Albert, 372,
384
Takazaukas, Albert, 73
Taking in the Grave Out-
doors, 414
Taking Steam, 431
Taking Steps, 86, 111
Tale of two Cities, A, 79, 106
Tale Told, A, 16
Tales From the Vermont
Woods, 432
Talking Band, The, 417
Talking With, 4, 9, 22, 25,
27, 31, 379-383, 465
Talley, Terry, 427
Talley's Folly, 16, 98, 105
Tallman, Randolph, 84
Tally, Ted, 88, 107, 415
Talmadge, Victor, 426
Talmage, Clyde, 106
Talman, Ann, 411, 425
Talyn, Olga, 338, 339
Tamare, 427
Tamburrelli, Karen, 361
Taming of the Shrew, The,
75, 107
Tamlyn, Jane, 359
Tamm, Daniel, 105
Tan, Victor En Yu, 423,
427
Tana, Akita, 354
Tanaka, Min, 418
Tanaka, Yoshihico, 417
Tancredi, Dorothy, 439
Tandy, Jessica, 8, 12, 22, 344,
462. 466
Tango Glaciale, 418
Tanna, Robert, 350
Tanner, Chris, 416
Tanner, Jill, 101, 113
Tanner, Richard M., 415
Tanner, Susan Jane, 359
Tansey, June, 420
Tantalizing, A, 92
Tanzman. Carol, 102
Tap Dancing Across the Uni-
verse, 84
Tarantina, Brian, 16, 349,
386, 387, 465
Tarleton, Diane, 332
Tartel, Michael, 442
Tartuflfe, 37, 87, 106, 405-406
Tartuffe: Alias "The
Preacher", 105
Tarver, Ben, 110
Task, Maggie, 1 10
Tasse, James, 87
Tate, Dennis, 419
Tate, Grady, 354
Tate, Judy, 420
Tate, Linda, 424
Tatum, Marianne, 432
Tavaris, Eric, 105
Taverne, Joost, 344
Tayler, Todd, 103
Taylor, Allen, 419
Taylor, Barbara Sieck, 100
Taylor, Brian, 370
Taylor, C.P., 3, 11, 341
Taylor, Danny, 1 13
Taylor, David, 340
Taylor, Deborah, 107
Taylor, Elizabeth, 34, 362
Taylor, Geoffrey, 444
Taylor, Gwen, 390
Taylor, Holland, 351, 365,
415
Taylor, Horacena J., 86, 1 15,
402
Taylor, Leslie, 101, 465
Taylor, Morris, 332
Taylor, Noel, 106
Taylor, Ron, 376, 466
Taylor, Russ, 431
Taylor, Stephen, 79
Taylor, Todd, 104
Taylor-Allan, Lee, 428
Taylor-Dunn, Corliss, 412
Taylor-Morris, Maxine, 101,
403
Taymor, Julie, 392
Tea With Milk, 434
Teague, Paul, 341
Teahouse, 42, 423, 458, 459
Teaneck Tanzi: The Venus
Flytrap, 6, 14, 67, 359
Teatro Dramma, 417
Tebo, Mitchell Steven, 371
Tedrow, Irene, 89
Teeley, Tom, 342
Teens Today, 387
Teeter, Lara, 333, 352, 462,
466
Teitel. Carol, 109, 372, 385
Telsey, Bernie, 419
Tempest, The, 103, 107, 118
Temple, Paul N., 364
Templeman, Simon, 359
Ten Times Table, 79
Tender Offer, 414
Tenement, 419
Tennessee Waltz, 72
Tenniel, John, 347
Tenth Man, The, 429
Tepper, Kirby, 352
Terms, 459
Terra Nova, 88, 107
Terrel, Elwin Charles III, 427
Terry, Jonathan, 81
Terwilliger, Tom, 362
Tesich, Steve, 72
Testa, Mary, 373, 431
Teta, Jon, 432
Tezla, Michael, 467
Thacker, Cheryl, 413
Thanksgiving, 91
Thatcher, Maggie, 80
Thau, Harold, 363, 387
Thaxter, Phyllis, 97
Theater at St. Clement's, 427
Theater by the Sea, 101, 355
Theater Development Fund,
40, 465, 466
Theater for Actors and Play-
wrights, 434
Theater for the New City,
427
Theater Hall of Fame, 33
Theater in the Park, 399
Theater in the Time of Nero
and Seneca, 1 16
Theater of the Open Eye, 428
Theater Off Park, 428
Theater World Awards, 465
Thebus, Mary Ann, 466
Their First Mistake, 382
Thelen, Jodi, 89, 354
They're Playing Our Song,
466
Thigpen, Lynne. 72
Think Piece, A, 25, 27, 375
Third Street, 386-387
13 Rue De L'amour, 102
Thome, David, 438
Thomas, Brandon, 109, 414
Thomas, Brenda, 371
Thomas, Brett, 76
Thomas, Chris, 420
Thomas, Dylan, 80
Thomas, Eberle, 105, 110
Thomas, Isa, 109. 110
550
INDEX
Thomas, Jay, 423
Thomas, Leone, 420
Thomas, Lisette, 89, 90
Thomas, Pat, 103
Thomas, Paul C, 77, 78
Thomas, Rick, 333
Thomas, Robin, 425
Thomas, Tim, 94
Thomas, William Jr., 415
Thomas, Wynn, 372, 396,
402
Thomason, Donna, 436
Thomasson, Susan, 370
Thompson, Brian, 73
Thompson, Evan, 420
Thompson, Fred, 361
Thompson, Jay, vii
Thompson, Keith, 332
Thompson, Kent, 419
Thompson, Lauren, 348
Thompson, Mari H., 353, 361
Thompson, Owen, 95
Thompson, Robert, 76
Thompson, Sada, 107
Thompson, Weyman, 442
Thomson, Ian, 419
Thomson, Margaret, 388
Thomson, R. H., 118
Thomson, Sherry, 117
Thomson, Virgil, 44, 432
Thorne, Raymond, 437
Thornton, Angela, 77
Thornton, David, 98
Thornton, Greg, 102
Thorpe, David, 398
Thorpe, Katherine, 105
Thorpes, Charee Adia, 357
Thorson, Linda, 111, 345,
465
Three Musketeers, The, 82,
112
Three Sisters, 25, 27, 76,
102, 380-383
Three Travels of Aladdin
With the Magic Lamp,
The, 44, 417
Threepenny Opera, The, 82
Thun, Nancy, 76, 423
Thurber, James, 110, 370
Tiber, Elliot, 433
Tibetan Book of the Dead, or
How Not to Do It Again,
The, 44, 417
Tice, David, 427
Tick, BetMar, 462
Tick, Donald, 331, 400, 462
Tierce, Pattie, 332
Tierney, Mary, 425
Tiffany, Mackaye and Edi-
son, 430
Tighe, Kevin, 115
Tigus, 402-403
Tillinger, John, 95
Tillman, Ellis, 81
Tilstrom, Burr, 77
Tilton, James, 343, 355
Time and the Conway s, 75
Timon of Athens, 93
Tine, Hal, 113
Tintypes, 68, 69, 102, 466,
467
Tiplitz, Rita, 424
Tipton, Jennifer, 76, 77, 95,
98, 341, 347
Tissot, John, 423
Titania Barytonos, 424
TKTS, 40
Tobie, Ellen, 380, 383
Tobin, Martin Patrick, 80
Tobolowsky, Stephen, 341
Tod, Toshi, 423
Todd, Tony, 419
Toddie, Jean Lenox, 87
Tolan, Kathleen, 67, 92
Tolaydo, Michael, 80, 355
Tolstoi, 38
Tom, Lauren, 439
Tom Jones, 100
Tomarken, Jill, 414
Tomei, Concetta, 430, 440
Tomfoolery, 79
Tomlinson, Diane, 331, 385,
388
Tomhnson, John, 420
Toms, Carl, 409
Tondino, Guido, 118
Tone, Ben, 110
Toner, Tom, 78, 89, 111,414
Toney, David, 1 14
Tonight at 8:30, 73
Toombes, C.B., 365
Tooth of Crime, The, 44, 1 1 3,
464, 466, 467
Top Girls, 3,9,23,24,25,31,
3«8-39i, 458, 459, 460, 464
Topeka Scuffle, 82
Topor, Tom, 86
Torbett, David, 386, 387
Torbett, Vi, 428
Torch Song Trilogy, 8, 17,
41, 67, 331, 460,462, 464,
465, 466
Tordjman, Gilles, 118
Toren, Suzanne, 414
Torsek, Dierk, 90, 91, 92
Toser, David, 404
Total Abandon, 7, 15, 18, 67,
360
Touch Black, 413
Touch of the Poet, A, 98
Toussaint, Lorraine, 73, 396
Touzie, Hooshang, 417
Tovar, Candace, 333, 440
Tovatt, Patrick, 92
Townsell, Vanessa, 441
Townsend, Robert, 384
Toy, Barbara, 91
Tracht, Avery J., 432
Tracy, Christopher, 379
Trainer, David, 7, 12, 109,
344, 404
Traines, Andrew, 428
Traister, Andrew J., 108
Trammell, Lynn, 82
Transfiguration of Benno
Blimpie, The, 423
Translations, 74, 88, 103,
111, 118
Traub, John, 349
Travis, Warren, 71
Treat, Martin, 427
Tremblay, Michel, 84, 113
Trevens, Francine L., 371,
379, 404, 405
Treyz, Russell, 71, 72, 91
T.R.G. Repertory Company,
433
Trial Of , The, 38
Trigger, Ian, 441
Trimble, David, 81
Trinity Square Repertory
Company, 63, 102, 103
Trio, 420
Triple Feature, 25, 28, 380-
383
Triskaidek Productions, 400
Tronn Cooper, Sheila, 345
Troobnick, Eugene, 433
Trotter, Kim A., 80
Trouille, Clovis, 329
Troupe Theater, 434
True West, 8, 25, 37, 75,
387, 464, 465, 466
Truesdale, Tad, 417
Truitt, Quay, 420
Trujillo, Renato, 118
Trumbo, Dalton, 31, 375
Tschetter, Dean, 365, 415
Tsoutsouvas, Sam, 75
Tsu, Susan, 104
Tsuai, Yung Yung, 423
INDEX
551
Tubert, Susana, 428
Tucci, Maria, 95, 415
Tucci, Stanley, 336
Tuche, Don, 81
Tucker, Michael, 116, 396
Tufvesson, Ture, 393
Tukak Teatret, 69
Tull, Eric, 75, 110
Tummings, Chris, 410
Tune, Tommy, 3, 7, 8, 20, 22,
361, 462, 463, 466
Tunick, Jonathan, 347, 364
Tunie, Tamara, 105
Tunnell, James, 377
Tuohy, Susan, 82
Turet, Maurice, 352, 403
Turgenev, Ivan, 89
Turman, Glynn, 392
Turn of the Screw, The, 88
Turnage, Wayne, 360
Turner, Graham, 359
Turner, Jake, 431
Turner, Jerry, 69, 70, 71
Turner, Mary, 70, 71
Turner, Patricia, 385
Turney, Wayne S., 79
Turre, Akua, 354
Turrell, J.M., 416
Turturro, John, 97
Twain, Michael, 428
Twelfth Night, 71, 92
Twelve-Pound Look, The,
369
24 Inches, 427
Twice Around the Park, 4, 6,
7, 8, 16, 67, 343
Twiggy, 8, 20, 22, 361, 462
Two Fish in the Sky, 25, 29,
396
Two Hot Dogs With Every-
thing, 414
Two-Character Play, The,
421
Twomey, Anne, 429
Tyeska, James, 357
Tyler, Veronica, 357
Tymicki, Jerzy, 89
Tynan, Kenneth, 329
Tyrell, Lyn, 110
Tyrrell, Lyn, 419
Tyzack, Margaret, 359, 462
Ubu Repertory Theater, 417
Udall, Katherine, 94
Udoff, Yale, 115
Uggams, Leshe, 8, 331
Uhrman, Walter R., 105
Uhry, Alfred, 79, 414
Ullman, Bob, 376, 385
Ullman, Robin, 342
Ullmann, Liv, 33, 337
UUrick, Sharon, 89
Ulmer, John, 109, 110
Ulrich, Ronald, 117
Ultz, 341
Umberger, Andrew, 103
Umbras, Peter, 88
Uncle Vanya, 93, 109, 113,
114, 421
Uncommon Denominators,
84
Under the Ilex Tree, 106
Underwood, Sandy, vii
Uneasy Lies, 415
Unexpected Guest, The, 85,
105
Union City Thanksgiving,
415
United Media Productions,
400
Universal Pictures, 408
Unveilings, 424
Up Front Productions, 332
Upper Depths, The, 44, 420
Upside Down on the Handle-
bars, 422
Upstairs at O'Neals', 25,31,
393
Urban Arts Theater, 338
Urbanski, Douglas, 348, 360
Urich, Tom, 442
U.S.A., 73
Usher, Kevin, 399
Utstein, Jan S., 405
Uttley, William, 375
Vaccaro, John, 427, 433
Vacratsis, Maria, 118
Vahanian, Marc, 66, 81
Valdes, Ching, 417
Valency, Maurice, 86
Valentine, James, 81, 347
Valesa, 89
Valle, Freddy, 423
Vallejo, Alfonso, 427
Vallejo, Antonio Buero, 73
Vallo, George, 428
Valor, Henrietta, 117
Valoris, Paul, 72
Valtin, Jan, 409
Value of Names, The, 66,
92
Van Burek, John, 84, 113
van der Horst, Ellen, 344
van der Laarse, Cees, 344
van der Linde, Laurel, 333
van der Linden, Hans, 345
van der Wurff, Erik, 344
Van Dyke, Elizabeth, 104,
117
Van Dyke, Mary, 416
van Eeden, Ron, 344
Van Fossen, Diana, 75, 78
van Itallie, Jean-Claude, 27,
44, 76, 95, 380, 417
Van Liew, Mike, 363
Van Maanen, James, 415
Van Nostrand, Amy, 103
Van Patten, Joyce, 89, 354
Van Peebles, Melvin, 420
Van Ryper, Gretchen, 419,
421
Van Slyke, Joe, 467
van Veen, Herman, 21, 344
Van Wetering, Deborah, 422
Van Zyl, Meg, 428
VanBergen, Lewis, 429
Vanbrugh, John, 432
Vance, Dana, 359
vanden Heuvel, Wendy, 417,
418
Vannerstram, Michael, 114
Varese, Edgar, 329
Varga, Joseph A., 92, 104,
428
Varna, Michael, 371
Varney, Carleton, 379
Vartorella, Rick, 413
Vaudeville, A, 418
Vaughan, David, 383
Vaughan, Stuart, 109, 110
Vawter, Ron, 432
Vazquez, Cookie, 437
Vazzana, Tom, 422
Veber, Pierre, 107
Vedder, Earl, 424
Vega, Millie, 93
Vehr, Bill, 425
Velasco, Vladimir, 382
Velazquez, Russell, 342
Velde, Fred, 384
Velez, Henry. 103
Venable, Sarah, 424
Vennema, John C, 90, 91
Venora, Diane, 29, 374, 390
Ventriloquist, The, 424
Vera With Kate, 101
Vercoe, Rosemary, 76
Verderber, William, 100
Verery, James, 1 1 1
Verhagen, Mariann, 71
552
INDEX
Verheyen, Mariann, 75, 87,
415
Vernacchio, Dorian, 426
Vernon, Charlie, 77
Vestuto, Kathy, 443
Vetere, Richard, 424
Viacom International, Inc.,
363
Vickery, John, 371, 377
Victims of Duty, 434
Victims: a Triangle, 434
Victor, Susan, 431
Victory Theater, 65
Vieux Carre, 43, 429
View From the Bridge, A, 7,
8,22,33,67, 110,349,462,
463, 466
Vigna, John, 84
Villaire, Holly, 86
Vincent, Dennis, 82
Vincent, Joe, 70, 71
Vincent, Lawrence, 420
Vincent, Robert, 360
Vinegar Tree, The, 1 1 1
Vineyard Theater, 434
Vining, John, 432
Vinovich, Steve, 374
Vipond, Neil, 101, 427
Viracola, Fiddle, 336
Virginia Museum Theater,
103, 104
Virta, Ray, 405, 406
Visit, The, 86
Visit With the Muse, A, 425
Visitor, Nana, 361
Vita, Michael, 338, 352
Vital Arts Theater, 434
Vitale, James, 349
Vivian, John, 344
VMT Photo, vii
Voelpel, Fred, 116
Voet, Doug, 446
Vogler, Herb, 332
Voices of America, 421
Voigts, Richard, 414
Voll, Dudley, 72
Von Berg, Peter, 421
Von Dohlen, Lenny, 429,
440
von Goethe, Johann Wolf-
gang, 393
Von Mayrhauser, Jennifer, 7,
112, 341, 345, 349, 365,
386
Von Mayrhauser, Peter, 361
Von Opel, Monina, 402
von Scherler, Sasha, 382
Von Schiller, Friedrich, 431
von Volz, Valerie, 105
Vonnegut, Kurt Jr., 414
Voodoo Automatic, 44, 432
Vos, Eric, 88
Vos, Richard, 359
Vosburgh, David, 338
Voss, Stephanie, 101
Voysey, Michael, 408
Vreeke, John, 85, 87
Vyzga, Bernard J., 74
Waara, Scott, 116, 423
Waas, Cinthia, 404
Wadad, Ali, 402
Wade, Janet, 79
Wade, Kevin, 79, 92
Wade, Uel, 420
Wadsworth, Jo L., 417, 418
Wagemann, Kurt, 383, 384
Wagener, Terri, 64
Wager, Douglas C, 114, 115
Wagg, Jim, 338
Wagner, Frank, 358, 431
Wagner, Irene, 414
Wagner, Robin, 351
Wagner, Shirley Jac, 73
Wagner, Tony, 81
Wahrer, Timothy, 384, 439,
440
Wainwright, Loudon III, 447
Waissman, Kenneth, 331,
462
Waite, John Thomas, 436
Waites, Thomas G., 359
Waiting for Godot, 76
Waiting for the Parade, 1 10,
467
Wake of Jamey Foster, The,
7, 17, 67, 341
Wakefield, Lou, 390
Wakefield, Scott, 428
Walcott, Derek, 77, 107
Walcutt, John, 81
Waldeck, Nona, 75
Walden, Stanley, 329
Waldhorn, Gary, 341
Waldman, Robert, 79, 414,
423
Waldron, Michael, 414
Waldron, Peter, 419
WaUn Productions, 403
Walk Before Dawn, A, 434
Walke, Gillian, 431
Walken, Christopher, 97, 1 12
Walker, Arnetia, 441
Walker, Bill, 88, 97, 349, 403
Walker, George F., 84, 117
Walker, Gerald, 383
Walker, Jaison, 105
Walker, Janet Hayes, 429
Walker, Jerry Jeff, 329
Walker, Kathryn, 362
Walker, Paul, 100, 408, 409
Walker, Randolph, 103
Walker, Sydney, 109
Walker, Timothy, 341
Wallace, Adrienne, 427
Wallace, Ann, 75
Wallace, Bradford, 110
Wallace, E. Gregg Jr., 348
Wallace, Jack, 77, 392
Wallace, Lee, 403
Wallace, Mervin Bertel, 357
Wallace, Ron, 365
Wallace, Ronald, 97, 349,
373, 383
Wallach, Allan, 235, 458,
459, 460
Wallach, EH, 8, 16, 343
Wallbank, John, 345
Wallen, Michelle, 81
Waller, Fats, 69
Walling, Stratton, 420
Wallnau, Colleen Smith, 110
Walquer, Lady Helena, 421
Walsh, Barbara, 104, 342
Walsh, Dan, 424
Walsh, J.T., 382, 384, 390,
430
Walsh, Juanita, 424
Walsh, Keliher, 100, 371,
422, 434
Walsh, Robert, 400
Walsh, Tenney, 375
Walsh, Thomas A., 82, 89,
100
Walsh, Thomas J., 440
Walsh, Thommie, 7, 20, 22,
361, 463, 466
Walsh, William, 420
Walter, Harriet, 359
Walters, Frederick, 414, 429
Walters, Marrian, 109
Walton, Jim, 444
Wandel, Peter, 364
Wann, Jim, 330, 447
War, The, 110
War and Peace, 38
Ward, B.J., 346, 443
Ward, Diane, 355
Ward, Douglas Turner, 28,
29, 77, 372, 402, 403
Ward, Geoffrey, 82
I
I
INDEX
553
Ward, Matthew, 417
Ward, Patricia, 358
Warden, Jack, 1 1 1
Ware, Gary, 332
Warfel, William B., 98
Waring, Todd, 105
Warmflash, Stuart, 385
Warncke, Margaret, 113
Warner, Amy, 394, 395, 396
Warner, Stewart, 351
Warner, Sturgis, 419
Warner Theater Productions,
7, 338, 341, 343, 344, 346
Warners, Robert, 350
Warnke, Margret, 432
Warren, Harry, 329, 330
Warren, James, 440
Warren, Jennifer Leigh, 376
Warren, Joseph, 345, 419
Warren-White, Nat, 428
Warrick-Smith, Pamela, 357
Warrilow, David, 77, 94, 371
Washington, Denzel, 89
Washington, Melvin, 361
Wasserman, Allan, 434
Wasserman, Debbi, 67
Wassermann, Molly, 360
Wasserstein, Wendy, 387,
414
Water Hen, The, 428
Waters, Les, 391
Waterston, Sam, 381
Waterstreet, Edmund, 101
Watkins, Marcia Lynn, 352,
438
Watson, Ara, 406, 429
Watson, Donald, 434
Watson, Douglas, 103
Watson, Douglass, 422
Watson, Janet, 429
Watson, Joe, 399
Watson, Michael Orris, 76
Watt, Douglas, 458, 459, 462,
465, 466
Watt, Ethel, 403
Watts, June, 359
Way, Andrew, 82
Way, Catherine, 100
Wayne, Philip, 35, 393
Ways and Means, 73
We Were Dancing, 73
We Won't Pay! We Won't
Pay!, 113
Wealth of Poe, A, 106
Weapons of Happiness, 75
Weary, A.C., 371
Weatherhead, Chris, 72
Weathers, Danny, 440
Weathers, Patrick, 342
Weatherwax, Rick, 422
Weaver, Carl E., 342
Weaver, Fritz, 16, 349, 386
Weaver, John Anthony, 92
Weaver, Rose, 102
Weaver, Sylvester N. Jr., 403
Web, The, 102
Webb, Alyce, 355
Webb, Chloe, 369, 444
Webb, Gillian, 359
Webb, Robert, 334
Webber, Andrew Lloyd, 3,
10, 22, 330, 340, 462,
466
Weber, Melissa, 428
Webster, Peter, 111, 115
Weddell, Mimi Rogers, 428
Wedekind, Frank, 395
Wedgeworth, Ann, 382
Weekend Near Madison, A,
67, 92
Weeks, Jimmie Ray, 386
Weeks, Sarah, 393
Weenick, Annabelle, 84
Weetman, Martin, 89
Wehle, Brenda, 1 1 1
Weiant, Ted, 116
Weicker, Peter, 378, 408
Weidmann, Ginnie, 428
Weidner, Paul, 102
Weil, Cynthia, 329
Weil, David, 392
Weill, Kurt, 73, 82
Weinberg, Jeff, 438
Weiner, Bernard, 46, 65, 67
Weiner, Leslie, 422
Weinstock, Richard, 387, 393
Weintraub, Scott, 101
Weir, Michal, 438
Weiser, Douglas, 80
Weisman, Sam, 467
Weiss, Barbara, 422
Weiss, David, 359, 416, 424
Weiss, Elliot, 373
Weiss, Joan E., 386
Weiss, Jonathan, 333, 338
Weiss, Julie, 360
Weiss, Marc B.. 112, 113,
333, 344, 363
Weiss, Will M., 394
Weissler, Barry and Fran, 338
Weissman. Mitch, 385
Weissman, Roberta, 353
Weitz, Eric, 415
Welch. Charles, 101
Welch, Jane, 77
Welch, Pam, 394, 395, 396
Welcome Home Jacko, 25,
30, 409
Welcome to Sodom And
Gomorrah, 419
Welcome to the Moon, 413
Weldin, Scott, 110, 111
Weldon, Charles, 89
Weller, Michael, 111, 387
Weller, Peter, 1 1 1
Welles, Joan, 82
Wells, Christopher, 419
Wells, J.R., 427
Welsh, Ken, 116
Welsh, Kenneth, 118
Welsh, Stephen, 81
Weltschmerz, 387
Welty, Eudora, 79, 414
Wendschuh, Ronald, 88
Wentworth, Scott, 87
Weppner, Christina, 416
Werner, Douglas, 409
Werner, Sharon, 443
Werner, Stewart, 349, 365,
375, 381, 382, 386, 387
West, Caryn, 77, 441
West, Matt, 440
West, Thomas Edward, 414
West Side Story, 431
Westenberg, Robert, 377,
390
Westfall, Susan, 81
Westside Arts Center, 378
Westside Mainstage, 434
Wettig, Patricia, 413, 441
Wetzsteon, Ross, 464
Wexler, Bradley, 411
Wexler, Robert, 411
Wexler, Yale R., 384
Weyte, Stefan, 418
Wharton, Richard, 106
What Everywoman Knows,
421
What I Did Last Summer, 7,
25, 27, 385-386
What the Butler Saw, 71,
113. 114
What Where, 370
Wheeldon, Carole. 71
Whee'cr. David, 102, 103
Wheeler, Hugh. 71, 114
Wheeler. Sandra, 378
Where's Charley?, 414
White. Charles, 113
White, Cornelius, 357
White. David. 44. Ill
554
INDEX
White, George C, 115
White, Joan, 347
White, Lewis, 360
White, Lillias, 342
White, Michael, 341
White, Onna, 112
White, Roberta, 370
Whitehead, Gary, 84
Whitehead, Paxton, 107
Whitelaw, Arthur, 400
Whitham, Sarah, 352
Whitmore, James, 347, 382
Whitner, Daniel, 418
Whitsett, Edie, 1 1 1
Whitton, Margaret, 75, 111,
345, 374
Whodunnit, 3, 7, 14, 22, 67,
348
Who'll Save the Plowboy?,
414
Who's Afraid of Virginia
Woolf?, 84, 100
Whyte, Ron, 106
Wickes, Mary, 1 12
Widdoes, Kathleen, 390
Widney, Stone, 364
Widow's Watch, 84
Wiegert, Rene, 340
Wiener, Sally Dixon, viii,
154, 212
Wierzel, Robert M., 98
Wiese, Peter C, 353
Wieselman, Douglas, 363
Wiest, Dianne, 97, 381
Wiest, Joan, 443
Wigfall, Joseph, 419
Wiggins, Tudi, 80, 371, 431
Wigginton, Eliot, 12, 344
Wilber, Shirley, 76
Wilbur, Richard, 35, 77, 87,
114, 334, 336, 370, 372,
405, 466
Wilcox, Larry, 112, 351
Wilcox, Ronald, 82
Wild, Jamie, 76
Wild Life, 7, 25, 30, 408
Wild Oats, 37, 93, 393-395
Wilde, Oscar, 78, 107
Wilde Spirit, The, 428
Wilder, Anne, 406
Wilder, Billy, 414
Wilder, Carrie, 360
Wilder, Karen "La", 370
Wilder, Thornton, 68, 70, 93,
107
Wilderness of Shur, The, 420
Wiley, Kevin, 399
Wilford, Ronald A., 353
Wilhelm, Kurt, 69, 79, 92, 94,
111
Wilhite, Chris, 91
Wilhoite, Benji, 71
Wilkinson, Kate, 107, 430
Wilkof, Lee, 30, 376, 377,
446
Will, Kayden, 85
Willard, C. George, 341, 349,
352, 364, 367, 372, 378,
400, 403, 408
Willems, Stephen, 113
Willens, Arnold, 430
Williams, Arthur, 427
Williams, Barry, 431
Williams, Bruce, 109
Williams, Carl, 421
Williams, Carol, 115
Williams, Clifford, 80
Williams, Curt, 403
Williams, Ellis, 420
Williams, Emlyn, 85
Williams, J. Scott, 101
Williams, Jaston, 27, 86, 388
Williams, L.B., 416
Williams, Lowell, 402
Williams, Ralph, 107, 434
Williams, Sam, 76, 363
Williams, Samm-Art, 72, 86,
104, 115, 117, 420
Williams, Sammy, 440
Williams, Samuel Ross, 430
Williams, Tennessee, 31, 37,
43, 73, 85, 93, 100, 111,
113, 117, 384, 421, 429
Williams, Treat, 27, 393, 447
Williamson, Laird, 109
Williamson, Nicol, 8, 35, 383
Williamson, Ruth, 436
Williamson, Walter, 394,
395, 396
Williford, Lou, 82
Willinger, David, 417
Willis, John, 465
Willison, Walter, 432
Willoughby, Ronald, 418
Willows, Alec, 363
Willrich, Rudolph, 103, 113
Wilmeth, Ross A., 429
Wilson, Alexander, 405
Wilson, Andrea, 112, 408
Wilson, August, 115
Wilson, Billy, 351, 364
Wilson, Dolores, 362, 436
Wilson, Edwin, 458, 459, 460
Wilson, EHzabeth, 355
Wilson, John Wallace, 428
Wilson, Lanford, 4, 16, 27,
71, 78, 79, 80, 86, 93, 98,
105, 349, 385, 462, 465
Wilson, Mary Louise, 347,
448
Wilson, Pamela Ann, 439
Wilson, Roy Alan, 71, 110
Wilson, Snoo, 432
Wilson, Trey, 344
Win/Lose/Draw, 25, 406
Winbarg, Jeri, 379
Winbush, Marilynn, 338
Winde, Beatrice, 91
Windust, Penelope, 82
Wines, Halo, 114, 115
Winfield, Paul, 82
Wing, Rodney, 357
Wing, Virginia, 94
Wingate, Martha, 377
Wingate, William P., 89
Wingert, Sally, 106, 107
Wings, 71, 72, 107
Winker, James R., 89
Winkler, Richard, 115, 338,
371
Winkler, William, 416
Winn, Cal, 69, 71
Winners, 35, 383-384, 465
Winners & How He Lied to
Her Husband, 25
Winston, Tarik, 357
Winterbottom, Susan, 354
Winterplay, 43, 65, 425
Winters, Nancy, 112, 374,
391, 465
Winters, Time, 426
Wintersteller, Lynne, 436
Winther, Michael, 397, 398,
399
Wipf, Alex, 402
Wirth, David, 415
Wise, Jim, 104
Wise, Ray, 113, 464
Wise, Scott, 438
Wise, William, 115,414,431
Wissoff, Jill, 427
Wisteria Trees, The, 429
With Love and Laughter, 31,
370
Witham, Tricia, 378
Witherell, Dexter, 100
Without Willie, 418
Witkiewicz, Stanislaw, 428
Witness for the Prosecution,
75, 81
Witt, Peter, 343
INDEX
555
Wittich, Ina, 73
Wittop, Freddy, 112
Wittstein, Ed, 73
Wizard of Oz, The, 77, 117
WNET/Thirteen, 347
Wodehouse, P.G., 31, 33,
103, 112, 409
Wohl, David, 420
Wojda, John, 115
Wojewodski, Robert, 73, 97,
101, 111, 353, 396, 401,
403
Wojewodski, Stan Jr., 72, 73
Wojtasik, George, 414
Wolf, Art, 77
Wolfe, Cassandra, 79, 80
Wolfe, Wendy, 425
Wolff, Art, 408
Wolff, Richard G., 358, 463
Wolfson, David, 80
Wolhandler, Joe, 344, 355
Wolkowitz, Morton, 408
Wolle, Chondra, 71
Wollner, Donald, 419
Wolpe, David, 417
Wolsk, Gene, 345
Wolz, Jeff, 415
Woman, The, 72
Woman of the Year, 330
Woman's Place, A, 72
Wong, Janet, 439
Wong, Lily-Lee, 439
Wong, Mel, 418
Wong, Victor, 348, 390
Wonsek, Paul, 76, 117, 415
Wood, Bradford, 397
Wood, Cynthia, 344, 355
Wood, G., 107
Wood, John, 435
Wood, Polly, 334
Woodard, Wardell, 360
Woodbridge, Patricia, 101,
113, 117, 382
Wooden, Jessie Jr., 403
Woodeson, Nicholas, 85, 341
Woodies, Leslie, 352
Woodlawn, Holly, 362
Woodley, Becky, 412
Woodman, William, 98, 99,
101
Woodruff, Robert, 76, 77, 84
Woods, Denice, 357
Woods, Michele-Denise, 408
Woods, Richard, 335, 347,
355
Woods, Sara, 80
Woods, Sheryl, 360
Woodson, John, 86
Wool, Jon, 425
Woolard, David C, 392
Woolf, Steven, 106
Woolfenden, Guy, 359
Woolgatherers, The, 26
Woolley, David, 392
Woolley, Jim, 342
Woolman, Claude, 88
Woolridge, Karen, 118
Wooster Group, 44
Wopat, Christine, 412
Workroom, The, 433
World of Ruth Draper, The,
427
Wormell, Lynda, 428
Worsley, Dale, 421
Worsley, Joyce, 364
Wortman, Bryna, 413
Wouk, Herman, 33, 111, 334
WPA Theater, 42, 43, 376,
377, 429, 466
Wren, Scott Christopher, 74,
419
Wright, Amy, 382, 415
Wright, Barbara, 371
Wright, Bob, 71, 72
Wright, Charles Michael, 94,
446
Wright, Garland, 94, 115,
387
Wright, Jenny, 349, 427
Wright, Kathrynann, 437
Wright, Mary Catherine, 109,
448
Wright, Rebecca, 350
Wright, Susan, 117, 118, 119
Wright, Teresa, 107
Wrightson, Ann, 99, 101,
116, 382, 416, 422
Wrightson, Ann C, 73
Writers In Performance, 77
Wurschmidt, Sigrid, 377
Wuthering Heights, 92
Wyatt, Joe S., 414
Wyatt, John, 379
Wyeth, Zoya, 331
Wylie, John, 77, 115, 419
Wyman, Nicholas, 378
Wynn-Owen, Meg, 341
Xifo, Ray, 426
Yaffe, James, 71
Yale Repertory Theater, 97,
98, 387
Yama, Conrad, 348, 390
Yamaguchi, Eiko, 411, 423
Yanagrita, Masako, 354
Yancey, Kim, 75
Yang, Ginny, 348, 390
Yankowitz, Susan, 116
Yates, Marjorie, 341
Yeargan, Michael, 87, 95, 97,
98, 116, 406, 420
Yeh, Ching, 417
Yellen, Sherman, 329
Yellow Brick Road, 87
Yellow Fever, 42, 46, 67,
423, 464
Yenque, Teresa, 419
Yerushalmi, Rina, 417
Yes, I Can!, 73
Yeston, Maury, 331
Yetter, Mark, 431
Yeuell, Michael, 88
Yodice, Robert, 390
York, Donald, 112
York, Rebecca, 439
York Players, The, 429
Yoshimura, James, 416, 419
You Can't Take It With You,
9, 34, 67, 68, 87, 355-356,
465, 466
Young, Burt, 429
Young, Glenda, 1 14
Young, James, 440
Young, Keone, 94
Young, Ronald, 361, 371
Young, Thomas J., 357
Young People's Theater of
Center Stage, The, 73
Young Playwrights Festival,
25, 27, 385-387, 458, 459
Youngblood, Robinson, 417
Young-Smith, Otis, 420
Youngstrom, Donn, 395, 396
Your Arms Too Short to Box
With God, 18,67,338,462
You're a Good Man Charlie
Brown, 31, 400
Youtheater, 80
Yu, Lu, 423
Yuk, Henry, 423
Yulin, Harris, 95, 417, 425
Yunker, Don, 114
Zabel, Morton Dauwen, 369,
427
Zabinski. Gary M., 385
Zabriskie, Nan, 85
Zaccaro, Zeke, 92
Zacek, Dennis. 79. 466
Zagnit. Stuart. 425
556
INDEX
Zagreb Theater Company,
417, 465
Zakowski, Donna, 98
Zaks, Jerry, 98, 414
Zalamea, Pilar, 423
Zampese, Alan, 426
Zanetta, Tony, 427
Zang, Edward, 347
Zann, Lenora, 1 17
Zapp, Peter, 382
Zappala, Paul, 425
Zeder, Susan, 84
Zeisler, Ellen, 372, 383
Zeitz, Johnny, 376
Zeller, Bernard, 354
Zeller, Mark, 85
Zelon, Helen, 426
Zercher, Joanna, 437, 438
Zigars, Sandra, 352
Zignal 1 Theater, 417
Zigun, Dick D., 419
Zimbalist, Stephanie, 95
Zimet, Paul, 417
Zimmerman, Mark, 110
Zindel, Paul, 80
Zipf, Raymond, 411
Zippel, David, 404
Zipprodt, Patricia, vii, 7, 14,
22, 35, 89, 347, 348, 354,
374, 463, 465
Ziskie, Daniel, 365, 415, 422
Zivetz, Carrie, 433
ZoUo, Frederick M., 347,
355, 462
Zoran, 393
Zorba, 466, 467
Zorich, Louis, 417
Zory, Matthew, 375
Zuber, Catherine, 98
Zuckerman, Stephen, 429
Zweigbaum, Steve, 345
Zwemer, Eric, 103
I
\
I
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Otis L. Guernsey, Jr., editor of the Best Plays
yearbook, began his long association with the
theater at Yale University, where he wrote three
plays that were presented by student groups. For
nineteen years he was associated with the New
York Herald Tribune, beginning as copy boy
and then graduating to reporter, film and drama
critic, and drama editor. He became a free-lance
writer in 1960, authoring two original film stor-
ies. He now edits the Dramatists Guild Quar-
terly and is a national popular lecturer on the
modern theater. He is a former member of the
New York Film Critics (past chairman) and the
New York Drama Critics Circle. Mr. Guernsey
is also a member of the panel of critics which
selects the Tony Award nominees and served as
a member of the advisory committee of the
Bicentennial program at Kennedy Center, Wash-
ington, D.C. He is a charter member of the
newly formed national critics' organization,
American Theater Critics Association.
DODD, MEAD & COMPANY
79 Madison Avenue. New York. NY 10016
The Best Plays Annual was first started in 1919 by Burns Mantle, has appeared
every year since then, and has become the standard reference book for the
twentieth-century American Theater. All of the former volumes are kept in
print.
THE BEST PLAYS OF 1982-83
The Season in New York
Description of Broadway & off-Broadway plays, events by Otis L. Guernsey Jr.
One-page summaries of Broadway & off-Broadway seasons
Description of the off-off-Broadway season by Mel Gussow
The Season Around the United States
American Theater Critics citation — Closely Related
A Directory of Professional Regional Theater
The Ten Best Plays
Synopses of New York's best
Synopsis of one of the Best Plays partly in photographs
Illustrations
Drawings of the New York season by Al Hirschfeld
Performances, design, dramatic highlights of the outstanding new shows produced
in New York and across the country in scores of photographs
1982-83 Facts and Figures in This Volume
Complete Broadway casts and credits
Complete off-Broadway casts and credits
Listing of major off-off-Broadway productions
Cast changes in road companies and holdovers
Lists of longest-run plays; prize-winning plays
Publication lists of plays and original cast albums
1982-83 necrology
The Best Plays, 1894-1982
Alphabetical index
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