It is born, it breathes, it eats, it communicates,
It grows old
And like all things in our universe,
It eventually dies.
Each theatre even has its own distinct personality—some are friendly, some brooding, some cozy, some expansive, some formal, some flamboyant. Its personality is initially defined by the entrepreneur who envisions it, the architect who designs it and the artisans who build it.
It is further shaped by the people and productions that take temporary residence in the theatres heart. Together, over time, this fusion of wood, metal, plaster, stone, sound, ideas, artists and audiences shape its spirit. One might even say spirits.
In November 1960 a beautiful play came to the Belasco. Tad Mosel’s All the Way Home, adapted from James Agee’s novel A Death in the Family, starred Arthur Hill, Lillian Gish, Colleen Dewhurst, and Aline MacMahon. It etched with feeling the impact of a young fathers death on his family. It was awarded the Pulitzer Prize and the New York Drama Critics Circle Award as the best play of the season.
In April 1930 producer Jed Harris, known as the boy wonder, returned from London and produced and directed an acclaimed revival of Chekhov’s Uncle Vanya, adapted by Mrs. Ben Hecht (Rose Caylor). Harris’s direction and the acting of his sterling cast, Lillian Gish, Osgood Perkins, Walter Connolly, Eduardo Ciannelli Joanna Roos, and others, made the occasion a theatrical event. The end of 1930 brought a taut, cynical expose of scandal mongering newspapers called Five-Star Final. It starred Arthur Byron, Frances Fuller, and Berton Churchill, and featured Allen Jenkins. Theatre goers supported it for 176 showings.
After a series of unsuccessful plays in 1930 and 1931, the Longacre finally had a hit in Blessed Event (1932), starring Roger Pryor in a thinly disguised impersonation of the egotistical Broadway columnist Walter Winchell, with Isabel Jewell and Allen Jenkins in support. A dramatization of the infamous Lizzie Borden ax murders, Nine Pine Street, had a fine performance by Lillian Gish as the neurotic killer, but it only ran a few weeks in 1933.
Hal Holbrook starred in Robert Anderson’s somber autobiographical drama / Never Sang for My Father (1968), also starring Teresa Wright (then Mrs. Robert Anderson) and Lillian Gish.
The National had a series of failures and quick bookings during 1932 and 1933 and was dark for more than a year during those gray Depression days. But on October 22, 1934, a distinguished drama opened at this theatre. It was Sean O’Casey’s Within the Gates, directed by Melvyn Douglas and starring Lillian Gish as a prostitute, Bramwell Fletcher as a poet, and Moffat Johnston as a bishop. The play took place in London’s Hyde Park, and the very large cast represented the great variety of humanity who spent their days in the park. There was music, dancing, and philosophizing, and Brooks Atkinson in The Times pronounced: “Nothing so grand has risen in our impoverished theatre since this reporter first began writing of plays.”
Mr. Gielgud was in the National’s next production as well, Crime and Punishment, costarring Lillian Gish, but the adaptation of Dostoyevsky’s novel was not a success.
Stuart Erwin and Lillian Gish in Mr. Sycamore.
St James Theatre
Lillian Gish and John Gielgud in Hamlet, which moved to the St. James in 1937.
Circle in the Square Theatre
Lillian Gish, George C. Scott, Nicol Williamson, Barnard Hughes, and Julie Christie in Uncle Vanya.
Gish and Davis: Could the Two Work Together? – By Mike Kaplan (The New York Times – 1993) FILM; Gish and Davis: Could the Two Work Together? By Mike Kaplan The New York Times – April 18, 1993 When “The Whales of August” was filmed in 1986, the story of the relationship between two elderly sisters brought together two of the screen’s most enduring stars, Lillian Gish and Bette Davis. Miss Gish, who died Feb. 27 at the age of 99, will be remembered on Thursday at the Museum of Modern Art with a program called “In Memoriam.” It will include “The Whales of August,” her final film, directed by Lindsay Anderson, as well as her first, D. W. Griffith’s “Unseen Enemy” (1912). Here, Mike Kaplan, who co-produced “The Whales of August,” reflects on the interaction of its two stars. Bette Davis and Lillian Gish – The Whales of August, 1987 In the tributes to Lillian Gish that followed her death, references to her final starring role in “The Whales of August” were always glowing. B
The Movie Magazines and Lillian Gish … The moving Picture World 1914 detail The moving Picture World 1914 The moving Picture World 1914 detail Moving Picture World, November 21, 1914 Her Awakening – Lillian Gish The Angel of Contention Poster The moving Picture World – Mutual Program – A Question of Courage names wrong Lillian Gish And Dorothy The moving Picture World – Mutual Program – The Sisters The Birth of a Nation (David W. Griffith Corp., 1915). Herald2 Sold for Marriage Triangle Plays Program 1916 lillian_gish_photoplay_1917 08 ID Photo Back to Lillian Gish Home page Photoplay, August, 1918 – Dorothy and Lillian Gish in their dressing room Lillian Gish Photoplay August 1918 Lillian Gish Photoplay February 1919 Lillian Gish Photoplay, July, 1919 Back to Lillian Gish Home page Lillian Gish Photoplay October 1920 Orphans of The Storm Prog Herald 1921 Lillian Gish 1921 – The Girl Back Home Motion Picture Classic Magazine (Brewster, 1921) The Lily Maid from Ohio Ph
When Mamaroneck Upstaged Hollywood – By Bruce Berman (The New York Times – June 19, 1977) When Mamaroneck Upstaged Hollywood By Bruce Berman The New York Times – June 19, 1977 BACK in the early 1920’s when Mamaroneck was a center of movie‐making, Joseph Rigano was an employee of D.W. Grif fith’s studio at Orienta. “I was atone mason and mechanic,” the energetic 80year‐old said as we toured on foot Edgewater Point, at the top of the Orienta Peninsula. Griffith Studios, Orienta Point, Mamaroneck NY 1921 “After the studio was finally built, Mr. Griffith asked me to stay on as a set builder. Stone fireplaces were my specialty, but I worked on everything from Gothic walls to painted desert backdrops. The actors were almost always friendly, and I was getting $55 a week and drove a $1,200 Buick. What more could a young man desire?” DW Griffith filming team – Mamaroneck NY – Way Down East In those days the area was less the “East Coast Hollywood” than Hollywood was “the West Co