sign in sign up
<<
Home , Arnold Sundgaard, Arthur Kopit, Audrey Hepburn, Broadhurst Theatre, Brooks Atkinson, Brooks Atkinson Theatre

A p p e n d i x : T h e L i e b l i n g - W o o d Agency’s Client List of , 1938–1958

Audrey Wood and William Liebling with Frances Stoloff, founder of the Gotham Mart, City (Photograph by William Yoscary) Courtesy of Cheryl Raymond for the Estate of William Yoscary. 174 Appendix

Audrey Wood’s client list at Liebling-Wood was extended for another 23 years beyond the sale of the Liebling-Wood Agency and her reloca- tion, first, to Music Corporation of America, and, second, to the Ashley- Steiner-Famous Agency (later, International Creative Management). Katharine Albert Robert Anderson Don Appell Harold Arlen Robert Ayres Marie Baumer Bertram Bloch Allen Boretz Jane Bowles Luther Davis Mel Dinelli Friedrich Düerrenmatt Vernon Duke Jack Dunphy Jacques Duval Mignon Eberhart Dale Eunson John Finch Doris Frankel Claiborne Foster Charlcie Garrett Oliver Garrett Michael Gazzo E. B. Ginty C. Givens Jay Gorney E. Y. (“Yip”) Harburg Roy Hargrave Sig Herzig Dorothy Heyward DuBose Heyward Appendix 175

Orrin Jannings Jean Kerr H. S. Kraft Searle Kramer Herbert Kubly Clare Kummer John LaTouche Charles Laughton Isabel Leighton Carl Leo Vera Matthews Carson McCullers John Murray Liam O’Brien Edward Paramore Ernest Pascal John Pen Leo Rifkin Howard Rigsby Cecil Robson Lynn Root Fred Saidy David Shaw Elsa Shelly Arnold Sundgaard Frank Tarloff Julian Thompson Dan Totheroh Maurice Valency F. Wakeman Robert Wallston Hagar Wilde Calder Willingham Donald Windham Eva Wolas

N o t e s

INTRODUCTION

Epigraph: From a one-page hand-out of quotes by Audrey Wood prepared for the dedication of the Audrey Wood , , on September 24, 1984, Audrey Wood Papers, HRC. 1. Audrey Wood, with Max Wilk, Represented by Audrey Wood ( N e w Y o r k : Doubleday and , Inc., 1981), 7. Reprinted with the approval of the A u d r e y W o o d E s t a t e . 2 . W o o d , Represented by Audrey Wood, 130. 3 . W o o d , Represented by Audrey Wood , 13.

1 STAGESTRUCK

1 . From Audrey Wood with Max Wilk, Represented by Audrey Wood, 22, by permission of the Audrey Wood estate and by David Wilk for the estate of Max Wilk. 2 . W o o d , Represented by Audrey Wood , 14. 3 . W o o d , Represented by Audrey Wood , 15. 4 . W o o d , Represented by Audrey Wood , 20–21. 5 . Press photograph of William H. Wood, dated March 18, 1916, and inscribed to his daughter, Audrey, Audrey Wood Papers, HRC. 6 . W o o d , Represented by Audrey Wood , 28. 7 . W o o d , Represented by Audrey Wood , 29. 8 . W o o d , Represented by Audrey Wood , 31.

2 STARTING OUT

1 . From Audrey Wood with Max Wilk, Represented By Audrey Wood , 48. 2 . W o o d , Represented By Audrey Wood , 56. 3 . W o o d , Represented By Audrey Wood , 60. 4 . W o o d , Represented By Audrey Wood , 60–61. 178 Notes

5 . W o o d , Represented By Audrey Wood , 61. 6 . Quoted in Wood, Represented By Audrey Wood , 62. 7 . Quoted in Wood, Represented By Audrey Wood , 62. 8 . Jesse Zunser, “Nursemaid to Genius,” Cue October 18, 1958, 14; in Audrey Wood Clippings File, Billy Rose Theatre , NYPL. 9 . Q u o t e d i n W i l f r e d S h e e d , The House that George Built (New York: Random House, 2007), 67. 10 . , “Mamba’s Waters,” New York Times , January 4, 1939, 28. 1 1 . Q u o t e d i n W o o d , Represented By Audrey Wood , 64. 1 2 . W o o d , Represented By Audrey Wood , 64. 1 3 . “ W i l l i a m L i e b l i n g O b i t u a r y , ” Variety , December 31, 1969. 1 4 . Q u o t e d i n W o o d , Represented By Audrey Wood , 65. 1 5 . Q u o t e d i n W o o d , Represented By Audrey Wood , 65.

3 A ROOM OF THEIR OWN

1 . From Audrey Wood, with Max Wilk, Represented by Audrey Wood , 11. 2 . W o o d , Represented by Audrey Wood, 3. 3 . Quoted in Wood, Represented by Audrey Wood , 4. 4 . Brooks Atkinson, “The Play: ‘Room Service,’ ” New York Times , May 20, 1937, 16. 5 . Author’s telephone conversation with Gilbert Parker, January 31, 2011. Gilbert Parker, former agent for playwrights and directors at the William Morris Agency, now retired, started out as a switchboard operator at Liebling-Wood and became Audrey Wood’s assistant for a time in the late 1940s. 6 . W o o d , Represented by Audrey Wood , 78. 7 . In a letter to , Audrey Wood recalled Liebling’s account of his sing-along with on the walk to Henry Miller’s Theatre. Conflicting claims about the amount of money advanced to Marlon Brando to make the trip to Provincetown differ by $5—or, perhaps the actor col- lected a total of $45.00 from the two parties. Audrey Wood recalled that Liebling gave the actor “the magnificent sum of $25.00” to take the bus to Provincetown. From Letter from Audrey Wood to Elia Kazan, August 14, 1978, Audrey Wood Papers, HRC. Kazan also claimed that he advanced Brando $20 to make the trip. See Elia Kazan, A Life (New York: Alfred A. Knopf, 1988), 341. 8 . Quoted in Tennessee Williams, Memoirs (New York: Doubleday and Company, 1975), 131. Also, Tennessee Williams, , in Tennessee Williams Plays 1937–1955 (New York: Classics of the , Inc., 2000), 564. Reprinted by permission of The University of the South, © 1947, renewed © 1975, by The University of the South, Sewanee, TN. 9 . Quoted in Wood, Represented by Audrey Wood , 64. Notes 179

1 0 . W o o d , Represented by Audrey Wood , 7. Also, from a single-sheet list of Audrey Wood quotes, prepared as a handout for the dedication of the Audrey Wood Theatre, New York, on September 24, 1984, Audrey Wood Papers, HRC. 1 1 . W o o d , Represented by Audrey Wood , 95. 1 2 . Q u o t e d i n W o o d , Represented by Audrey Wood , 96. 1 3 . Q u o t e d i n W o o d , Represented by Audrey Wood , 99. 1 4 . “ O b i t u a r i e s , ” New York Times , October 23, 1958. 1 5 . R i c h a r d S e f f , Supporting Player: My Life Upon The Wicked Stage (New York: Xlibris Corporation, 2006), 100. Reprinted by permission of Richard Seff. 16 . Max Wilk, Mr. Williams and Miss Wood: A Two-Character Play (New York: Dramatists Play Service, Inc., 1990), 7. Reprinted by permission of David Wilk. 17 . Letter from Audrey Wood to Tennessee Williams, April 1, 1939, Audrey Wood Papers, HRC. Also, Lyle Leverich, Tom: The Unknown Tennessee Williams (New York: Crown Publishers, 1995), 300. 1 8 . L e v e r i c h , Tom: The Unknown Tennessee Williams, 300–404. 19 . Letter from Audrey Wood to Tennessee Williams, April 13, 1939, Audrey Wood Papers, HRC. 20 . Letter from Audrey Wood to Tennessee Williams, April 28, 1939, Audrey Wood Papers, HRC. 21 . Letter from Audrey Wood to Tennessee Williams, April 28, 1939, Audrey Wood Papers, HRC. Also, Leverich, Tom: The Unknown Tennessee Williams, 303. 22 . Letter from Tennessee Williams to Audrey Wood, May 5, 1939, Audrey Wood Papers, HRC. 2 3 . W o o d , Represented by Audrey Wood, 130. The storied introduction between and agent is repeated in Williams, Memoirs , 10; and also in, Leverich, Tom: The Unknown Tennessee Williams, 326. 2 4 . L e v e r i c h , Tom: The Unknown Tennessee Williams, 326. 2 5 . W i l l i a m s , Memoirs , 10. 26 . Letter from Tennessee Williams to Molly Day Thacher, circa late October 1939, Audrey Wood Papers, HRC. 27 . Letter from Tennessee Williams to Audrey Wood, circa early 1939, Audrey Wood Papers, HRC; also see, Notebooks: Tennessee Williams , ed. Margaret Bradham Thornton (New Haven, CT: Press, 2006), 166. 28 . Letter from Audrey Wood to Tennessee Williams, November 8, 1939, Audrey Wood Papers, HRC. 29 . Letter from Tennessee Williams to Audrey Wood, November 30, 1939, Audrey Wood Papers, HRC. See also, Leverich, 332. 30 . Telegram from Audrey Wood to Tennessee Williams, December 22, 1939, Audrey Wood Papers, HRC. The Rockefeller fellowship was awarded on December 18, 1939. 3 1 . W o o d , Represented by Audrey Wood , 7. 180 Notes

4 THE BITCH GODDESS

1 . From Letter from Audrey Wood to Irene Mayer Selznick, August 18, 1940, Audrey Wood Papers, HRC. Audrey Wood was communicating with the Streetcar principals about a future deal on a film; Irene Selznick was in , Tennessee Williams was in Capri, and the agent was at her desk in New York. 2 . Notebooks: Tennessee Williams , ed. Margaret Bradham Thornton (New Haven, CT: Yale University Press, 2006), 226. 3 . Selected Letters of Tennessee Williams 1920–1945 , eds. Albert J. Devlin and Nancy M. Tischler, vol. 1 (New York: New Directions Publishers, 2000), xv. 4 . Audrey Wood, with Max Wilk, Represented by Audrey Wood , 133–34. 5 . H u m e C r o n y n , A Terrible Liar: A Memoir (New York: William Morrow and Company, 1991), 188–89. 6 . L a w r e n c e L a n g n e r , The Magic Curtain: The Story of Life in Two Fields, Theatre and Invention (New York: E. P. Dutton, 1951), 331–32. 7 . W o o d , Represented by Audrey Wood , 135. 8 . Cecil Brown, “Interview with Tennessee Williams,” Partisan Review 45 (1978): 279. 9 . W o o d , Represented by Audrey Wood , 135–36. 1 0 . T e n n e s s e e W i l l i a m s , “ Battle of Angels: The History of the Play (with Parentheses),” Pharos 1–2 (Spring 1945): 110. 1 1 . M a r g a r e t W e b s t e r , Don’t Put Your Daughter on the Stage (New York: Alfred A. Knopf, 1972), 72. 12 . Alexander Williams, “ ‘Battle of Angels’,” Herald, December 31, 1940. 13 . , “ ‘Battle of Angels,’ A Defeat But No Disaster,” Boston Post , January 12, 1941. 14 . Almost all the participants have given firsthand accounts of the aftermath of the catastrophic opening of Battle of Angels: Audrey Wood (Represented By Audrey Wood, 135–38), Tennessee Williams ( Memoirs, 62–63), Margaret Webster ( Don’t Put Your Daughter on the Stage , 72–74), and Lawrence Langner (The Magic Curtain , 333.). 1 5 . W o o d , Represented by Audrey Wood , 136. 1 6 . W o o d , Represented by Audrey Wood , 137. Also, Lyle Leverich, Tom: The Unknown Tennessee Williams (New York: Crown Publishers, 1995), 274–75. 17 . Letter from the to Boston subscribers, , 1941, in the Theatre Guild Collection, Beinecke Rare Book and Manuscript Library, Yale University, New Haven, CT. 18 . Letter from Tennessee Williams to Audrey Wood, September 1, 1942, Audrey Wood Papers, HRC. Also, Letter from Tennessee Williams to the Williams Family, May 11, 1943, in Letters I , 448–50. 19 . Tennessee Williams and David Newman, “The Agent as Catalyst,” Esquire 58 (December 1962): 216, 260. Notes 181

20 . Letter from Audrey Wood to Tennessee Williams, June 2, 1943, Audrey Wood Papers, HRC. 2 1 . W o o d , Represented by Audrey Wood , 141. 22 . Letter from Tennessee Williams to Audrey Wood, March 23, 1945, Tennessee Williams Papers, HRC. Also see, Letters 1, 556–59. 1944–1945 was a busy season for the agent and her playwright. opened in on December 26, 1944 and in New York on March 31, 1945 and played for nearly 600 performances. You Touched Me! opened six months later on September 25, 1945. 23 . Lewis B. Funke Interview with Audrey Wood, tape recording and typescript, December 4, 1976, 34, Audrey Wood Papers, HRC. Reprinted by permission of Michael J. Funke. See also Wood, Represented by Audrey Wood , 151–52. 2 4 . W o o d , Represented by Audrey Wood , 141. 2 5 . Q u o t e d i n W o o d , Represented by Audrey Wood , 145. 2 6 . W o o d , Represented by Audrey Wood , 152. 2 7 . Q u o t e d i n W o o d , Represented by Audrey Wood, 153. Also, Funke Interview, 36–37, Audrey Wood Papers, HRC. 2 8 . E l i a K a z a n , A Life (New York: Alfred A. Knopf, 1988), 327–28. 2 9 . K a z a n , A Life , 327. 3 0 . C h e r y l C r a w f o r d , One Naked Individual: My Fifty Years in the Theatre (Indianapolis, IN: The Bobbs-Merrill Company, Inc., 1977), 185. 3 1 . Q u o t e d i n W o o d , Represented by Audrey Wood , 155. 3 2 . W o o d , Represented by Audrey Wood , 156. 33 . Liebling-Wood Office Files, dated 1948–1952, Audrey Wood Papers, HRC. 34 . Letter from Audrey Wood to Tennessee Williams, January 7, 1947, Tennessee Williams Papers, CU. 3 5 . W o o d , Represented by Audrey Wood , 157. 36 . Brooks Atkinson, “At the Theatre: ‘,’ ” New York Times , October 7, 1948, 205–06. 37 . Richard Watts, Jr., “An Enigma by Tennessee Williams,” New York Post , March 20, 1953; John Chapman, “Symbols Clash in ‘Camino Real’ ” , March 20, 1953; Brooks Atkinson, “Tennessee Williams Writes a Cosmic Fantasy Entitled ‘Camino Real,’ ” New York Times, March 20, 1953; Walter Kerr, “Casino Real,” , March 20, 1953; reprint, New Critics’ Reviews 1953, vol. 14 (New York: New York Theatre Critics Reviews, Inc., 1954), 330–31. 3 8 . W o o d , Represented by Audrey Wood , 162–63. 39 . Funke Interview, 41, Audrey Wood Papers, HRC 4 0 . B r o o k s A t k i n s o n , New York Times , March 25, 1955. 4 1 . W o o d , Represented by Audrey Wood, 171. was the only play that Tennessee Williams dedicated to his long-serving agent and friend. 42 . Funke Interview, 45–46, Audrey Wood Papers, HRC. 4 3 . W o o d , Represented by Audrey Wood , 169. 182 Notes

4 4 . Q u o t e d i n W o o d , Represented by Audrey Wood , 175. 4 5 . W o o d , Represented by Audrey Wood , 175. 4 6 . W o o d , Represented by Audrey Wood, 177. When the film was made in 1963, played the leading role, along with as Chance Wayne. 47 . Br o o k s A t k i n s o n , “ T h e T h e a t r e : P o r t r a i t o f C o r r u p t i o n , ” New York Times , March 11, 1959; Walter Kerr, “First Night Report: ‘Sweet Bird of Youth,’ ” New York Herald Tribune , March 11, 1959; Robert Coleman, “ ‘Sweet Bird’ Sure-Fire Hit,” Daily Mirror, March 11, 1959; John McClain, “Williams’ Best And Maybe Best of Year,” New York Journal-American, March 11, 1959. Reprint New York Theatre Critics’ Reviews 1959 , vol. 20 (New York: Theatre Critics Reviews, Inc., 1960), 349–350. 48 . , “Sweet Bird of Success,” Encounter 12 (June 12, 1959): 59–60; Kenneth Tynan, New Yorker 35 (March 21, 1959): 98–100. 49 . interview with , January 18, 1984. See Spoto, 243. 5 0 . W o o d , Represented by Audrey Wood , 198. 51 . Richard Seff, Supporting Player: My Life Upon the Wicked Stage (New York: XLibris Corporation, 2006), 101–102. 5 2 . W o o d , Represented by Audrey Wood , 204. 5 3 . W o o d , Represented by Audrey Wood , 205. 5 4 . Tennessee Williams: Plays 1937–1955, edited by Mel Gussow and Kenneth Holditch (New York: The Library of America, 2000), 1021. 5 5 . W o o d , Represented by Audrey Wood , 181. 5 6 . W o o d , Represented by Audrey Wood , 185. 5 7 . W o o d , Represented by Audrey Wood , 219. 58 . Letter from Tennessee Williams to Audrey Wood, February 24, 1963, Audrey Wood Papers, HRC. 59 . Union Telegram from Audrey Wood to Tennessee Williams, March 1, 1963; also, Letter from Audrey Wood to Tennessee Williams, February 23, 1963, Audrey Wood Papers, HRC. 6 0 . Q u o t e d i n W o o d , Represented by Audrey Wood, 198. William Liebling died in a New York hospital on December 29, 1969. The failed plays by Tennessee Williams between 1957 and 1969 were: Orpheus Descending , Period of Adjustment , Slapstick Tragedy, two productions of The Milk Train Doesn’t Stop Here Anymore , and In the Bar of a Tokyo Hotel.

5 DANCING ON EGGS

1 . From Audrey Wood, with Max Wilk, Represented By Audrey Wood , 1 1 8 . 2 . W i l f r e d S h e e d , The House that George Built: With a Little Help from Irving, Cole, and a Crew of About Fifty (New York: Random House, 2007), 288. Notes 183

3 . Brooks Atkinson, “The New Play,” New York Times , January 11, 1947, 23. 4 . Brooks Atkinson, “Finian’s Rainbow,” New York Times, January 11, 1947, 23. 5 . W o o d , Represented By Audrey Wood, 123. 6 . Quoted in Wood, Represented By Audrey Wood , 124. 7 . W o o d , Represented By Audrey Wood , 125. 8 . L a w r e n c e L a n g n e r , The Play’s The Thing (New York: G. P. Putnam’s Sons, 1960), 39. 9 . W o o d , Represented By Audrey Wood , 126. 1 0 . W o o d , Represented By Audrey Wood , 127. 1 1 . W o o d , Represented By Audrey Wood , 127. 12 . See James K. Lyon, Bertolt Brecht in America (Princeton, NJ: Princeton University Press, 1980), 196–97. 1 3 . “ G a l i l e o , ” Variety , August 6, 1947. 14 . Brooks Atkinson, “Galileo,” New York Times , August 1, 1947. 1 5 . Galileo closed in on August 17, 1947, and Brecht was served with a subpoena to appear before HUAC on September 19. 16 . Brecht’s play was derived in 1943 from Jaroslav Hašek’s novel The Adventures of the Good Soldier Švejk in the World War . 17 . Letter from Bertolt Brecht to Audrey Wood, February 5, 1949, Audrey Wood Papers, HRC. Also, Lyon, Bertolt Brecht in America , 321. 18 . James K. Lyon, writing in Bertolt Brecht in America, called the playwright’s testimony “a polite exercise in cunning and duplicity,” 329. 1 9 . Q u o t e d i n R o n a l d H a y m a n , Brecht A Biography (New York: Oxford University Press, 1983), 309–10. Also see Lyon, Bertolt Brecht in America , 330. 2 0 . Q u o t e d i n L y o n , Bertolt Brecht in America , 332. 2 1 . S e e Bertolt Brecht Journals 1934–1955, trans. Hugh Rorrison and ed. John Willett (New York: Routledge, Chapman and Hall, Inc. 1993), 372. 2 2 . Q u o t e d i n W o o d , Represented By Audrey Wood , 128. 23 . Brooks Atkinson, “At the Theatre,” New York Times , December 8, 1947, 34. 24 . Bertolt Brecht, Galileo , in The Modern Repertoire , Series Two, trans. by Charles Laughton and ed Eric Bentley, (Bloomington: Indiana University Press, © 1952), 474. Also, Wood, Represented By Audrey Wood , 129. 2 5 . Red Channels: The Report of Communist Influence in Radio and Television (New York: American Business Consultants, Inc., 1950): 72–74. 26 . See Milly S. Barranger, Unfriendly Witnesses: Gender, Theater, and Film in the McCarthy Era (Carbondale: Southern Illinois University Press, 2008), 90. 2 7 . Q u o t e d i n V i c t o r S . N a v a s k y , Naming Names , Third Ed. (New York: Farrar, Straus and Giroux Publishers, 2003), 94–95. 2 8 . Touch and Go opened on October 13, 1949 at the and played 176 performances. 2 9 . S e e E r i c B e n t l e y , e d . , Thirty Years of Treason: Excerpts from Hearings before the House Un-American Activities Committee 1938–1968 (New York: Viking, 1971), 542–44. 184 Notes

30 . Brooks Atkinson, “At the Theatre,” New York Times, October 14, 1949; John Chapman, “’Touch and Go,’ ” New York Daily News, October 14, 1949; reprint New York Theatre Critics’ Reviews 1949, vol. 10 (New York: Critics’ Theatre Reviews, 1950): 250–51. 31 . See Sondra K. Gorney, Brother, Can You Spare A Dime? of Composer Jay Gorney (Lanham, MD: The Scarecrow Press, Inc., 2005), 60. Reprinted by permission of Sondra K. Gorney. 32 . Sondra K. Gorney, 65. See also “Testimony of Jay Gorney , May 6, 1953,” US Congress. House Committee on Un-American Activities. 83rd Congress, Part 3, First Session. Hearings Regarding Investigation of Communist Activities, New York Area (Washington, DC: US Government Office, 1953), 1370–76. 33 . Author conversation with Sondra K. Gorney, December 12, 2011. Reprinted with permission. 34 . Author telephone conversations with Richard Seff, September 20 and 21, 2009. Reprinted with permission. 35 . A commemorative US Postal Stamp, recognizing Harburg’s accomplish- ments, was issued in 2005. He died in 1981 at 88 in an automobile accident on Sunset Boulevard in Los Angeles. Jay Gorney, afflicted in his late years with Parkinson’s disease, died at the age of 94 on June 14, 1990.

6 PERSONAL MONSTERS

1 . From Ronald Bergan, “Obituary: Robert Anderson,” , February 19, 2009. 2 . David H. Ayers, “The Apprenticeship of Robert Anderson” (Ph.D. diss., Ohio State University, 1969), 17. 3 . T h o m a s E . A d l e r , Robert Anderson (Boston: G. K. Hall and Company, 1978), 72. 4 . J a m e s F . W h a r t o n , Life Among the Playwrights: Being Mostly the Story of the Playwrights’ Producing Company (New York: Quadrangle / New York Times Book Company, 1974), 237–51. Tea and Sympathy opened on September 30, 1953 (for 712 performances); Cat on a Hot Tin Roof opened on March 24, 1955 (for 694 performances). 5 . E l i a K a z a n , A Life (New York: Alfred A. Knopf, 1988), 504. 6 . R o b e r t A n d e r s o n , Tea and Sympathy (New York: Random House, 1953), 88. With permission of Samuel French, Inc. 7 . Quoted in Audrey Wood, with Max Wilk, Represented by Audrey Wood , 268. Also, in Kazan, A Life, 502. 8 . B a r r a n g e r , Unfriendly Witnesses , 77, 124. 9 . Brooks Atkinson, “First Night at the Theatre,” New York Times , October 1, 1953, 35. 1 0 . W h a r t o n , Life Among the Playwrights, 241. Notes 185

11 . Phyllis Stohl Anderson died on November 28, 1956. See “Mrs. Robert Anderson Dies Here at 49; Dramatist’s Wife Aided Theatre Guild,” New York Times , November 29, 1956, 35. 1 2 . W h a r t o n , Life Among the Playwrights, 242–44. 13 . Letter from Robert Anderson to Audrey Wood, undated, in Audrey Wood Papers, HRC. 14 . Brooks Atkinson, “Theatre: ‘Silent Night, Lonely Night,’ ” New York Times , December 4, 1959, 36. 1 5 . Q u o t e d i n W o o d , Represented by Audrey Wood , 273. 1 6 . W o o d , Represented by Audrey Wood , 273–74. 1 7 . W o o d , Represented by Audrey Wood , 274. 1 8 . A d l e r , Robert Anderson, 124–125. 19 . Bruce Weber, “Robert Anderson, 91, Playwright, Dies: Made Name with ‘Tea and Sympathy,’ ” New York Times , February 10, 2009. 2 0 . R o b e r t A n d e r s o n , I Never Sang for my Father (New York: Random House, 1968), 3. With Permission of Samuel French, Inc. 21 . The Lieblings leased the apartment at 100 Sands Point Road in Sarasota, , from May 1966 to 1970; thereafter, Audrey sublet the apartment until April 1971. The inventory of contents and their appraisal are located in the Audrey Wood Papers, HRC. 22 . Clive Barnes, “Theater: ‘I Never Sang for My Father,’ ” New York Times , January 26, 1968, 30. 2 3 . W o o d , Represented by Audrey Wood , 276 2 4 . C . W . E . B i g s b y , Modern American Drama, 1945–1990 (New York: Cambridge University Press, 1992), 75. 2 5 . Q u o t e d i n W o o d , Represented by Audrey Wood , 277. 26 . Maurice Valency, “Introduction,” Four Plays by Jean Giraudoux (New York: Hill and Wang, Inc., 1958), xxi. With permission of Macmillan Company. 2 7 . J a r e d B r o w n , The Fabulous Lunts: A Biography of and (New York: Atheneum, 1986), 387–88. 2 8 . Q u o t e d i n W h a r t o n , Life Among the Playwrights , 225. 29 . Brooks Atkinson, “Theatre: ‘,’ ” New York Times , February 19, 1954 and February 28, 1954; Richard Watts, Jr., “ and Her Triumph,” New York Post, February 19, 1954; reprint, New York Critics’ Theatre Reviews 1954 , vol. 15 (New York: Critics’ Theatre Reviews, 1955): 362–63. 3 0 . W o o d , Represented by Audrey Wood , 308. 3 1 . Bus Stop opened March 2, 1955 (for 478 performances); Cat on a Hot Tin Roof opened March 24, 1955 (for 694 performances). 3 2 . B r o w n , The Fabulous Lunts , 399. 33 . See Kenneth Tynan, “,” The Observer , March 23, 1958. 3 4 . B r o w n , The Fabulous Lunts , 408. Also, Margot Peters, : Alfred Lunt and Lynn Fontanne A Biography (New York: Alfred A. Knopf, 2003), 203. 186 Notes

35 . Brooks Atkinson, “Theatre: “An Unforgettable ‘Visit,’ ” New York Times , May 6, 1958 and May 18, 1958; Richard Watts, Jr., “The Lunts in Striking New Play,” New York Post , May 6, 1958; John McClain, “A Most Disturbing Play,” New York Journal-American , May 6, 1958; reprint, New York Critics’ Theatre Reviews 195 8, vol. 19 (New York: Critics’ Theatre Reviews, 1959): 294–97.

7 DARKNESS IN THE HEARTLAND

1 . From Audrey Wood, with Max Wilk, Represented by Audrey Wood, 233. 2 . William Inge, “St. Louis Personalities: ‘Tennessee’ Williams, Playwright, Author,” St. Louis Star-times , November 11, 1944, 11. Reprinted in Conversations with Tennessee Williams, ed. Albert J. Devlin (Jackson: University Press of Mississippi, 1986), 6–8. Spoto referenced the affair between Williams and Inge, 112. 3 . “ I n g e , W i l l i a m ( M o t t e r ) , ” Current Biography (New York: H. W. Wilson Company, 1954), 293. 4 . Telegram from Audrey Wood to William Inge, November 5, 1945, Audrey Wood Papers, HRC. 5 . Letter from Audrey Wood to William Inge, November 8, 1945, Audrey Wood Papers, HRC. 6 . W o o d , Represented by Audrey Wood , 225. 7 . W o o d , Represented by Audrey Wood , 225. 8 . See Ralph F. Voss, A Life of William Inge: The Strains of Triumph (Lawrence, Kansas: University Press of Kansas, 1989), 113–14. 9 . W o o d , Represented by Audrey Wood , 226–27. 10 . Brooks Atkinson, “At the Theatre: ‘ Come Back, Little Sheba ,’ ” New York Times , February 16, 1950, 28; Richard Watts, Jr., “The Man, the Dog, and the Bottle,” New York Post, February 16, 1950; reprint, New York Theatre Critics’ Reviews 1951, vol. 11(New York: Critics’ Theatre Reviews, 1951), 350. 1 1 . W o o d , Represented by Audrey Wood , 228. 1 2 . Q u o t e d i n D o n a l d S p o t o , The Kindness of Strangers: The Life of Tennessee Williams (Boston: Little, Brown and Company, 1985), 225–26. Quoted with the permission of Donald Spoto. 1 3 . B r o o k s A t k i n s o n , , rev. ed (New York: Macmillan Publishing Company, Inc., 1974), 443. 1 4 . J o s h u a L o g a n , Josh: The Up and Down, In and Out Life (New York: Delacorte Press, 1976), 277–285. Also, Voss, A Life of William Inge , 113–14. 15 . Brooks Atkinson, “At the Theatre: ‘ ,’ ” New York Times , February 20, 1953, 14; John McClain, “A Fine Blend of Many Talents,” New York Journal-American, February 20, 1953; reprint, New York Theatre Critics’ Reviews 1953 , vol. 14 (New York: Critics’ Theatre Reviews, 1954), 348. 1 6 . W o o d , Represented by Audrey Wood , 230. Notes 187

1 7 . B r o o k s A t k i n s o n , Broadway, 443. Also see, New York Theatre Critics’ Reviews 1956, vol. 16, 347. 1 8 . W o o d , Represented by Audrey Wood , 13. 19 . Seven pages of type-written notes, entitled “Dark at the top of the Stairs,” by William Inge,” from Audrey Wood to William Inge, August 5, 1957, Audrey Wood Papers, HRC. 2 0 . K a z a n , A Life , 572–73. 21 . Br o o k s A t k i n s o n , “ T h e T h e a t r e : I l l u m i n a t i o n s b y I n g e , ” New York Times , December 6, 1957, 38. Walter Kerr, “First Night Report/Walter Kerr’s Review: ‘The Dark at the Top of the Stairs,’ ” New York Herald-Tribune , December 6, 1957; John McClain, “Inge’s Best Play—With Kazan’s Aid,” New York Journal-American, December 6, 1957; reprint, New York Theatre Critics’ Reviews 1957, vol. 18 (New York: Critics’ Theatre Reviews, Inc., 1958), 160. 2 2 . Q u o t e d i n S p o t o , The Kindness of Strangers, 224–25. Quoted with permission. 23 . Introduction by Tennessee Williams, in The Dark at the Top of the Stairs (New York: Random House, 1958), vii–ix. Tennessee Williams completed the introduction in Key West on January 15, 1958, Tennessee Williams Papers, HRC. 24 . Robert Brustein, “The Men-Taming Women of William Inge,” Harper’s (November 1958), 52–57. 25 . William Gibson, “For Bill Inge,” New York Times , July 24, 1973, 35. 2 6 . W o o d , Represented by Audrey Wood , 232. 2 7 . W o o d , Represented by Audrey Wood , 232–33. 2 8 . W o o d , Represented by Audrey Wood, 233. 29 . Brooks Atkinson, “Theatre: ‘Loss of Roses,’ ” New York Times, November 30, 1959; John McClain, “Inge Wilts in His Latest,” New York Journal-American , November 30, 1959; Richard Watts, Jr., “Two on the Aisle: Everything Didn’t Come Up Roses,” New York Post , November 30, 1959; reprint, New York Theatre Critics Reviews 1959 , vol. 20 (New York: Theatre Critics’ Reviews, Inc., 1960), 211, 213. 30 . Jack Balch, “Anatomy of a Failure,” Theatre Arts (February 1960): 10. 3 1 . W o o d , Represented by Audrey Wood , 234. 32 . Lewis B. Funke, Interview with Audrey Wood dated December 4, 1976, in Audrey Wood Papers, HRC, University of Texas, Austin, 42–43. 3 3 . W o o d , Represented by Audrey Wood , 234–35. 3 4 . W o o d , Represented by Audrey Wood , 235. 3 5 . W o o d , Represented by Audrey Wood , 235–36. 36 . Letter from William Inge to Audrey Wood, March 29, 1962, Audrey Wood Papers, HRC. 37 . , “The Theater: ‘Natural Affection,’ ” New York Times , February 2, 1963, 4. Richard Watts, Jr. and Norman Nadel, Reviews of “Natural Affection,” February 2, 1963; reprint, New York Theatre Critics’ 188 Notes

Reviews 1963, vol. 24 (NewYork: Critics’ Theatre Reviews, Inc., 1964), 383–84. 3 8 . S p o t o , The Kindness of Strangers, 77. Also, producer Margery Klain shared this instance of a client asking if Audrey Wood had any children, and her reply. Email to Author from Margery Klain, dated July 27, 2011. 3 9 . W o o d , Represented by Audrey Wood , 54. 40 . D. Newman, “The Agent as Catalyst,” Esquire (December 1962): 264. 4 1 . V o s s , A Life of William Inge , 198. 42 . Stanley Kauffmann, “The Theatre: Inge’s ‘Where’s Daddy?’ ” New York Times March 3, 1966, 27. Norman Nadel, “It’s Hard to Care about Inge and His ‘Daddy,’ ” New York World-Telegram , March 3, 1966; Walter Kerr, “Where’s Daddy?” New York Herald-Tribune , March 3, 1966; reprint, New York Theatre Critics’ Reviews 1966 , vol. 27 (New York: Critics’ Theatre Reviews, Inc., 1967), 348–49. 43 . Winfred Blevins, “America’s Ignored Dramatist,” Los Angeles Herald-Examiner , November 10, 1968, William Inge Collection, Independence Community College, Independence, KS. 44 . Funke, Interview with Audrey Wood, 42–43. Inge worked on the musical book for Beau , based on Bus Stop , with music and lyrics by Gerry Raad. Even though Inge’s collaboration was announced in , Beau never appeared on Broadway. See Sam Zolotow, “William Inge Helps Turn His Play into a Musical,” New York Times , November 15, 1968, 39.

8 IRON BUTTERFLIES

1 . From Audrey Wood, with Max Wilk, Represented By Audrey Wood , 13. 2 . W o o d , Represented By Audrey Wood , 54. 3 . W o o d , Represented By Audrey Wood , 104. 4 . See T. W. Stanford, “Dorothy Heyward and DuBose Heyward,” The Dictionary of Literary Biography (Detroit, MI: The Gale Group, Inc., 2004), 141. 5 . B r o o k s A t k i n s o n , Broadway, Revised ed. (New York: Macmillan, 1974; rpt., New York, Limelight, 1990), 251. played 217 performances. 6 . Audrey Wood is quoted in “The Voice of Broadway: The Battle for ‘Porgy,’ ” New York Journal-American , July 31, 1958. 7 . Brooks Atkinson, “ ‘ Jonica ,’ ” New York Times , April 8, 1930, 27. 8 . B r o o k s A t k i n s o n , “ Cinderelative ,” New York Times , September 19, 1930, 18. 9 . W i l f r e d S h e e d , The House that George Built: With a Little Help from Irving, Cole, and a Crew of About Fifty (New York: Random House, 2007), 67. 1 0 . T e n n e s s e e W i l l i a m s , Memoirs (New York: Doubleday and Company, 1975) 106. 11 . Virginia Spencer Carr, The Lonely Hunter: A Biography of Carson McCullers (New York: Carroll and Graf Publishers, Inc., 1975), 274–75. 1 2 . C a r r , The Lonely Hunter , 278–79, 291. Notes 189

1 3 . C a r r , The Lonely Hunter , 311. 1 4 . W o o d , Represented By Audrey Wood , 112. 1 5 . W o o d , Represented By Audrey Wood , 112. 1 6 . W o o d , Represented By Audrey Wood , l12–13. 1 7 . W o o d , Represented By Audrey Wood, 113. 1 8 . W o o d , Represented By Audrey Wood, 113. 1 9 . Q u o t e d i n W o o d , Represented By Audrey Wood , 114. 2 0 . W o o d , Represented By Audrey Wood , 115. 21 . Brooks Atkinson, “At the Theatre,” New York Times , January 6, 1950, 26. Robert Coleman, “ ‘Member of the Wedding’ Is a Stirring Hit,” New York Daily News , January 6, 1950; reprint, New York Theatre Critics’ Reviews 1950, vol. 11, 397. 22 . Carson McCullers, “The Vision Shared,” Theatre Arts (April 1950): 30. 2 3 . W o o d , Represented By Audrey Wood , 115. 24 . Brooks Atkinson, “At the Theatre,” New York Times , December 30, 1953, 17. Impaired by a stroke in 1957, Jane Bowles did not write another play. She died in 1973 in a clinic in Málaga, Spain. 25 . Letter from Audrey Wood to Jane Bowles, February 25, 1964, Audrey Wood Papers, HRC. 26 . Letter from Audrey Wood to Jane Bowles, March 27, 1964, Audrey Wood Papers, HRC. In the Summer House opened Off Broadway on March 25, 1964, and closed after 15 performances on April 5, 1964. 2 7 . W o o d , Represented By Audrey Wood , 308. 28 . Letter from Audrey Wood to Carson McCullers, July 2, 1951, in Liebling- Wood Correspondence, HRC. 2 9 . C a r r , The Lonely Hunter , 535. 3 0 . W o o d , Represented By Audrey Wood , 116. 3 1 . W o o d , Represented By Audrey Wood , 116. 3 2 . C a r r , The Lonely Hunter , 451. 3 3 . W o o d , Represented By Audrey Wood , 117; also, Carr, The Lonely Hunter , 451. 34 . Brooks Atkinson, “At the Theatre: ‘Square Root,’ ” New York Times , October 31, 1957, 40. The Square Root of Wonderful closed after forty-five performances. 3 5 . C a r r , The Lonely Hunter , 461. 3 6 . C a r r , The Lonely Hunter , 458.

9 AN ACCIDENTAL CAREER

1 . From Audrey Wood, with Max Wilk, Represented by Audrey Wood , 13. 2 . Quoted in Wood, Represented by Audrey Wood , 280. 3 . A r t h u r K o p i t , End of the World with Symposium to Follow (New York: Samuel French Inc. 1984, 187), 16–17. 4 . W o o d , Represented by Audrey Wood , 280. 5 . Quoted in Wood, Represented by Audrey Wood , 281. 190 Notes

6 . W o o d , Represented by Audrey Wood , 282. 7 . W o o d , Represented by Audrey Wood, 213. 8 . Deborah Jowitt, : His Life, His Theater, His (New York: Simon and Schuster, Inc., 2004), 328–29. 9 . A r t h u r K o p i t , Oh Dad, Poor Dad, Mama’s Hung You in the Closet and I’m Feelin’ So Sad in Three Plays (New York: Farrar, Straus, and Giroux, 1997), 79. 10 . Paul Gardner, “Theater: ‘Dad’ Returns,” New York Times , August 28, 1963, 31. 1 1 . W o o d , Represented by Audrey Wood , 215. 1 2 . W o o d , Represented by Audrey Wood , 286. 13 . Don Shewey, “Arthur Kopit: A Life on Broadway,” New York Times, April 29, 1984, 91. Reprinted with permission of Don Shewey. 1 4 . W o o d , Represented by Audrey Wood , 286. 1 5 . W o o d , Represented by Audrey Wood , 287. 1 6 . W o o d , Represented by Audrey Wood , 287. 1 7 . Q u o t e d i n W o o d , Represented by Audrey Wood , 280. 18 . Lewis B. Funke, Interview with Audrey Wood, dated December 4, 1976, in Audrey Wood Papers, HRC, University of Texas, Austin, 79–80. Indians closed after 96 performances on Broadway. 1 9 . Q u o t e d i n W o o d , Represented by Audrey Wood , 288. 2 0 . W o o d , Represented by Audrey Wood , 47. 21 . Shewey, “Arthur Kopit,” 88–91, 105. 2 2 . A r t h u r K o p i t , “ P r e f a c e , ” Wings (New York: Hill and Wang, 1978), xi–xii. Reprinted with permission. 2 3 . W o o d , Represented by Audrey Wood , 292. 24 . Shewey, Arthur Kopit,” 105. Reprinted with permission. 25 . Shewey, Arthur Kopit,” 105. Reprinted with permission. 26 . Shewey, Arthur Kopit,” 104. Reprinted with permission. 27 . Frank Rich, “Stage: New Kopit Play,” New York Times , May 7, 1984, C15. 2 8 . Q u o t e d i n W o o d , Represented by Audrey Wood , 323. Also, reprinted by p ermission of Arthur Kopit.

1 0 I R I S H F I C T I O N S

1 . From Audrey Wood, with Max Wilk, Represented by Audrey Wood , 42. 2 . Thomas Kilroy, “The Early Plays,” The Cambridge Companion to , ed. Anthony Roche (New York: Cambridge University Press, 2006), 6–17. 3 . W o o d , Represented by Audrey Wood, 291. See also Howard Kissel, : The Abominable Showman: The Unauthorized Biography (New York: , 1993). 4 . “Interview with Victoria Radin (1981),” Brian Friel Essays, Diaries, Interviews: 1964–1999 , ed. Christopher Murray (London: Faber and Faber, 1999), 93. 5 . Brian Friel Essays, Diaries, Interviews: 1964–1999 , xix. Notes 191

6 . Walter Kerr, “ ‘Philadelphia, Here I Come!’ ” New York Herald Tribune , February 17, 1966. 7 . Clive Barnes, “The Theater: Friel’s ‘Mundy Scheme,’ ” New York Times, December 12, 1969, 75; Clive Barnes, “The Theater: ‘Freedom of the City,’ About the Irish,”New York Times , February 18, 1974, 32. 8 . W o o d , Represented by Audrey Wood , 314. 9 . Martin Gottfried, “The Theatre: ‘Home,’ ” New York Times, November 18, 1970; Walter Kerr, “Home, The Play,” New York Herald-Tribune , November 29, 1970; John J. O’Connor, “The Theatre: English Presence,” Wall Street Journal , November 18, 1970; reprint, New York Theatre Critics’ Reviews 1970, vol. 31 (New York: Theatre Critics’ Reviews, Inc., 1971), 146–48. 1 0 . T . E . K a l e m , “ T h e T h e a t e r , ” New York Times , December 18, 1972; reprint, New York Theatre Critics’ Reviews 1972, vol. 33 (New York: Theatre Critics’ Reviews, Inc., 1973), 338. 11 . Lewis B. Funke, Interview with Audrey Wood, dated December 4, 1976, in Audrey Wood Papers, HRC, University of Texas, Austin, 31. 1 2 . W o o d , Represented by Audrey Wood, 314. Also, Martin Gottfried, “The Theater: ‘The Changing Room,’ ” Women’s Wear Daily, March 8, 1975; reprint, New York Theatre Critics’ Reviews 1975 , vol. 36 (New York: Theatre Critics’ Reviews, Inc., 1976), 337. 13 . Letter from to Author, dated May 2, 2010. Quoted with approval. 14 . Letter from Brian Friel to Author, dated March 5, 2010. Quoted with approval. 1 5 . W o o d , Represented by Audrey Wood , 40. 1 6 . Q u o t e d i n W o o d , Represented by Audrey Wood , 42. 17 . Richard Eder, “Drama: Friel’s ‘Faith Healer,’ ” New York Times, April 6, 1979; Douglas Watts, “Friel’s ‘Faith Healer,’ ” New York Daily News, April 6, 1979; Clive Barnes, “Friel’s ‘Faith’ Beyond Healing,” New York Post, April 6, 1979; reprint, New York Theatre Critics’ Reviews 1979, vol. 40 (New York: Theatre Critics’ Reviews, Inc, 1980), 297–300. 18 . Walter Kerr, “Best Plays of the Year,” New York Times , December 30, 1979. 1 9 . T . E . K a l e m , “ T h e T h e a t r e , ” Time (April 16, 1979); reprint, New York Theatre Critics’ Reviews 1979 , 298. 2 0 . B r i a n F r i e l , Faith Healer (New York: Samuel French, Inc., 1980), 12. 2 1 . W o o d , Represented by Audrey Wood , 35. 2 2 . W o o d , Represented by Audrey Wood , 35. 23 . Clive Barnes, “ ‘River’ Doesn’t Have Depth of Book,” New York Post, March 29, 1979; Douglas Watt, “Stagnant ‘River,’ ” New York Daily News , March 29, 1979; reprint, New York Theatre Critics’ Reviews 1980 , 309, 310–11. 24 . Author telephone conversation with Don Bachardy, July 22, 2010. Quoted with approval. 2 5 . W o o d , Represented by Audrey Wood, 52. See the lyrics by in “Pick Yourself Up” from the film of Swing Time (1936). 192 Notes

2 6 . Q u o t e d i n Cambridge Guide to American Theatre, eds. Don B. Wilmeth and Tice L. Miller (New York: Cambridge University Press, 1996), 248. 27 . Clive Barnes, “A Play’s Worth of ‘Translations,’ ” New York Post , April 15, 1981; Frank Rich, “Stage: ‘Translations’ from Brian Friel,” New York Times , April 15, 1981; reprint, New York Theatre Critics’ Reviews 1981, vol. 42 (New York: Theatre Critics’Reviews, Inc., 1982), 264–66. 28 . Letter from Brian Friel to Author, dated March 5, 2010. Quoted with permission.

1 1 O U T - O F - T H E - O R D I N A R Y

1 . From Audrey Wood, with Max Wilk, Represented by Audrey Wood , 2 4 0 . 2 . Quoted in Wood, Represented by Audrey Wood, 241. 3 . W o o d , Represented by Audrey Wood, 242. 4 . W o o d , Represented by Audrey Wood, 242. 5 . See Preston Jones, A Texas Trilogy (New York: Hill and Wang Publishers, 1976), vii–viii. 6 . W o o d , Represented by Audrey Wood, 244. 7 . Lewis B. Funke, Interview with Audrey Wood, dated December 4, 1976, in Audrey Wood Papers, HRC, University of Texas, Austin, 56. 8 . W o o d , Represented by Audrey Wood, 244. 9 . Funke, Interview with Audrey Wood, 55. 1 0 . Q u o t e d i n W o o d , Represented by Audrey Wood, 247. 1 1 . W o o d , Represented by Audrey Wood, 248. 1 2 . Q u o t e d i n W o o d , Represented by Audrey Wood, 248. 1 3 . Q u o t e d i n W o o d , Represented by Audrey Wood, 249. 1 4 . W o o d , Represented by Audrey Wood , 252. 15 . Clive Barnes, “Preston Jones’s ‘Texas Trilogy’ Opens with Portrait of a Loser,” New York Times , September 22, 1976, 30; Clive Barnes, “A Sentimental Texas Journey,” New York Times , September 23, 1976, 50; Clive Barnes, “Stage: The Last of ‘Texas Trilogy,’ ” New York Times , September 24, 1976, 55. 16 . Quoted in Mel Gussow, “Preston Jones Playwright, Dead: Author of ‘Texas Trilogy,’ Was 43,” New York Times , September 20, 1979, D23. 1 7 . W o o d , Represented by Audrey Wood , 257–58. 1 8 . W o o d , Represented by Audrey Wood , 295–96. 1 9 . W o o d , Represented by Audrey Wood , 296. 2 0 . W o o d , Represented by Audrey Wood , 295. 2 1 . Q u o t e d i n W o o d , Represented by Audrey Wood , 296. 22 . Richard Eder, “Theater: ‘Working’ Opens on 46th Street,” New York Times , May 15, 1978, C15. Douglas Watt, “ ‘Working,’ ” Daily News, Mary 15, 1978; Howard Kissel, “ ‘Working,’ ” Women’s Wear Daily , May 15, 1978; reprint, New York Theatre Critics’ Reviews 1978 (New York: Critics’ Theatre Reviews, Inc., 1979), 274–75. Notes 193

2 3 . Q u o t e d i n W o o d , Represented by Audrey Wood , 297. 24 . Quoted in Wood, Represented by Audrey Wood , 298. 2 5 . Q u o t e d i n W o o d , Represented by Audrey Wood , 300. 2 6 . Q u o t e d i n W o o d , Represented by Audrey Wood , 295. 2 7 . W o o d , Represented by Audrey Wood , 295–96. 2 8 . W o o d , Represented by Audrey Wood , 300.

12 GUARDIAN

1 . From Audrey Wood, with Max Wilk, Represented By Audrey Wood , 307. 2 . Letter from Audrey Wood to Tennessee Williams, February 23, 1963, Audrey Wood Papers, HRC. 3 . Richard Watts, Jr., “Milk Train,” New York Post , January 21, 1963, reprint, vol. 24, New York Theatre Critics’ Reviews 1963, vol. 24 (New York: Critics’ Theatre Reviews, Inc., 1964), 391. The magazine critics were less kind. Richard Williams, “Mistuh Williams, He Dead,” Commonweal 7 (February 8, 1963), 515–17, referred to the play as “creative suicide.” 4 . W o o d , Represented by Audrey Wood , 187. 5 . W o o d , Represented by Audrey Wood , 187. 6 . Liz Woodman, assistant to , in conversation with the Author, June 10, 2008. Cited with permission of Liz Woodman. Also, Tony Richardson, Long Distance Runner: A Memoir (London: Faber and Faber, Ltd., 1993), 145. 7 . Liz Woodman in conversation with the Author, June 10, 2008. Quoted with permission. 8 . W o o d , Represented by Audrey Wood, 188–89. 9 . Telegram from Audrey Wood to Tennessee Williams, May 12, 1969, Audrey Wood Papers, HRC. 10 . Letter from Audrey Wood to George C. White, November 20, 1968, Audrey Wood Papers, HRC. 11 . Letter from Audrey Wood to Tennessee Williams, February 24, 1967, Audrey Wood Papers, HRC. 12 . Letter from Audrey Wood to Tennessee Williams, February 24, 1967, Audrey Wood Papers, HRC. 13 . Letter from Audrey Wood to the Chairman of the Department of Speech and Drama, Stanford University, October 29, 1965, Audrey Wood Papers, HRC. 14 . Letter from Audrey Wood to Peter R. Marroney, May 22, 1966, Audrey Wood Papers, HRC. 1 5 . D o n a l d S p o t o , The Kindness of Strangers: The Life of Tennessee Williams (Boston, MA: Little, Brown and Company, 1985), 273. 16 . Letter from Tennessee Williams to Audrey Wood, November 22, 1970, Audrey Wood Papers, HRC. 17 . “ ‘The Two-Character Play,’ ” Daily (London) Express , December 13, 1967. 194 Notes

1 8 . W o o d , Represented by Audrey Wood , 192. 1 9 . W o o d , Represented by Audrey Wood , 199. 20 . William Leonard, “’Out Cry,’ ” , July 9, 1971, 1. 21 . Stefan Kanfer, “White Dwarf’s Tragic Fadeout,” Life 66 (June 13, 1969): 10. 2 2 . W o o d , Represented by Audrey Wood , 197–98. 23 . The publisher of New Directions, James Laughlin, attributed, in part, the erosion of Audrey’s relationship with Tennessee Williams to the caustic lan- guage and dismissive attitudes of the Lady Maria St. Just. See Letter from James Laughlin to Audrey Wood, August 21, 1972, Audrey Wood Papers, HRC. 2 4 . Q u o t e d i n W o o d , Represented by Audrey Wood , 200. Donald Spoto argued in his biography that Williams’s suspiciousness, caused earlier by toxic drugs, had become ingrained. See Spoto, The Kindness of Strangers , 208. 2 5 . Q u o t e d i n S p o t o , The Kindness of Strangers , 297. 26 . Tennessee Williams, Memoirs (New York: Doubleday and Company, 1975), 229. 2 7 . W o o d , Represented by Audrey Wood , 201. 28 . Lewis B Funke, Interview with Audrey Wood, dated December 4, 1976, 59, 61, Audrey Wood Papers, HRC. 29 . Letter from James Laughlin to Audrey Wood, August 21, 1971, Audrey Wood Papers, HRC. 30 . Letter from Tennessee Williams to Audrey Wood, July 15, 1971, Audrey Wood Papers, HRC. 3 1 . W o o d , Represented by Audrey Wood , 325. 3 2 . W o o d , Represented by Audrey Wood , 308. 3 3 . W o o d , Represented by Audrey Wood , 308. See also Jared Brown, The Fabulous Lunts: A Biography of Alfred Lunt and Lynn Fontanne (New York: Atheneum, 1986), 443. 3 4 . Q u o t e d i n W o o d , Represented by Audrey Wood , 308. See also Anne Edwards, A Remarkable Woman: A Biography of (New York: William Morrow and Company, Inc., 1985), 282–83. 3 5 . W o o d , Represented by Audrey Wood , 309. 36 . “ ‘Love Among’ the Ruins,” Variety , March 12, 1975. 3 7 . W o o d , Represented by Audrey Wood , 309. 38 . Helen Sheehy, : A Biography (New York: Alfred A. Knopf, 1996), 407. 3 9 . S h e e h y , Eva Le Gallienne , 408. 40 . Walter Kerr, “To Grandmother’s House,” New York Times, January 25, 1981. See also, New York Theatre Critics’ Reviews 1981, vol. 42 (New York: Critics’ Theatre Reviews, Inc., 1982), 385. 41 . Mitch Douglas of International Creative Management took over Eva Le Gallienne’s representation as both her literary agent and theater agent. Le Gallienne lived until June 3, 1991, and died at age 92. Notes 195

42 . Typed notes from Ruth Wolff shared with the Author, July 28, 2011. Cited with permission. 4 3 . Q u o t e d i n W o o d , Represented by Audrey Wood , 318. 44 . Samuel G. Freedman, “The Life and Death of an Agent,” New York Times , December 31, 1985, C9. 45 . The Audrey Wood Theatre was dedicated on September 24, 1984. 46 . Freedman, “The Life and Death of an Agent,” C9. 47 . Freedman, “The Life and Death of an Agent,” C9. Also, Herbert Mitgang, “Theater Community Honors Audrey Wood,” New York Times, January 16, 1986, B11; Author conversation with Walter Willison, July 7, 2010; and Ruth Wolff, untitled one-page typescript, dated 1981, and shared with the Author, July 28, 2011. Cited with the permission of Ruth Wolff. 48 . “Top Agent Audrey Wood Dies at 80; Served Many Playwrights,” Variety , January 1, 1986, 136. 49 . Mitgang, “Theater Community Honors Audrey Wood,” B11. 50 . Letter from Daphne Athas to Author, dated April 3, 2011. Quoted with permission. 51 . Email from Isobel Robins Konecky to Author, dated May 12, 2011; Author telephone conversation with George C. White, September 7, 2011; Ruth Wolff, untitled one-page typescript, dated 1981, shared with the Author, July 28, 2011; Author conversation with David Berry, November 10, 2011; Letter from David Storey to Author, dated May 2, 2010; and Letter from Brian Friel to Author, dated March 5, 2010. Cited with the approval of these friends, coworkers, and clients of Audrey Wood.

B i b l i o g r a p h y

RESEARCH CENTERS AND ARCHIVAL COLLECTIONS

Key research centers and archives have preserved invaluable materials on theater in America. The following collections are applicable to research on the life and clients of Audrey Wood: Arthur Kopit Papers, Fales Library, , New York. Robert Woodruff Anderson Papers, Houghton Library, College Library, Cambridge, MA. Audrey Wood Papers, Harry Ransom Humanities Research Center, University of Texas, Austin. Audrey Wood Papers, Manuscript Division, for the Performing Arts, . Carson McCullers Papers, Columbus College Library, Columbus, Georgia. Cheryl Crawford Papers, Special Collections, University of , TX. Brian Friel Papers, National Library of Ireland, . Fred W. Todd and the Tennessee Williams Holdings, Historic New Orleans Collection, New Orleans, LA. William Inge Collection, Independence Community College, KS. Tennessee Williams Papers, (Rare Books, Butler Library, in the City of New York.) Tennessee Williams Collection, University of Delaware Library, Newark. Tennessee Williams Papers, Harry Ransom Humanities Research Center, University of Texas, Austin. Tennessee Williams Papers, Rare Books, Butler Library, Columbia University in the City of New York.

OTHER SOURCES

A d l e r , T h o m a s. Robert Anderson . Boston, MA: Twayne Publishers, 1978. A l p e r t , H o l l i s . The Life and Times of Porgy & Bess: The Story of an American Classic . New York: Alfred A. Knopf, 1990. 198

A t k i n s o n , B r o o k s. Broadway. Revised ed. New York: Macmillan, 1974; rpt., New York: Limelight, 1990. B a r r a n g e r , M i l l y S . A Gambler’s Instinct: The Story of Broadway Producer Cheryl Crawford . Carbondale: Southern Illinois University Press, 2010. ———. Margaret Webster: A Life in the Theater. Ann Arbor: University of Michigan Press, 2004. ———. Unfriendly Witnesses: Gender, Theater, and Film in the McCarthy Era . Carbondale: Southern Illinois University Press, 2008. Basinger, Jean, John Frazer, and Joseph W. Reed, Jr. eds. Working with Kazan . Middleton, CT: Press, 1973. B e n t l e y , E r i c . The Dramatic Event: An American Chronicle. New York: Horizon Press, 1954. Berney, K. A., ed. Contemporary Dramatists . London: St. James Press, 1993. B i g s b y , C . W . E . Modern American Drama, 1945–1990. New York: Cambridge University Press, 1992. B l o o m , K e n . Broadway: Its History, People, and Places An Encyclopedia. 2nd ed. New York: Routledge, 2004. B o g l e , D a v i d . Heat Wave: The Life and Career of Ethel Waters . New York: HarperCollins Publishers, 2011. B r a n t l e y , B e n , e d . The New York Times Book of Broadway: On the Aisle for the Unforgettable Plays of the Last Century . New York: St. Martin’s Press, 2001. B r o w n , J a r e d . The Fabulous Lunts: A Biography of Alfred Lunt and Lynn Fontanne . New York: Atheneum, 1986. Brustein, Robert. Seasons of Discontents: Dramatic Opinions, 1959–1965 . New York: Simon and Schuster Publishers, 1965. Carr, Virginia Spencer. The Lonely Hunter: A Biography of Carson McCullers . New York: Doubleday and Company, 1975. Clurman, Harold. Lies Like Truth . New York: Macmillan and Company, 1958. Coult, Tony. About Friel: The Playwright and His Work . London: Faber and Faber, 2003. Courtney, Marguerite. Laurette . New York: Holt Rinehart, 1955. Crawford, Cheryl. One Naked Individual: My Fifty Years in the Theatre . Indianapolis, IN: The Bobbs-Merrill Company, Inc. 1977. Cronyn, Hume. A Terrible Liar: A Memoir. New York: William Morrow and Company, Inc., 1991. Devlin, Albert J., ed. Conversations with Tennessee Williams . Jackson: University Press of Mississippi, 1986. Emert, Tim. Interview with Audrey Wood. March 11, 1975. In William Inge Collection, Independence Community College, Independence, Kansas. Freedman, Samuel G. “Devotion to the Stage Was Her Hallmark,” New York Times , July 1, 1984, H4–5. ———. “The Life and Death of an Agent,” New York Times, December 31, 1985, C19. Bibliography 199

Funke, Lewis B. Interview with Audrey Wood. Dated December 4, 1976. In Audrey Wood Papers, Harry Ransom Research Center, University of Texas, Austin. Gassner, John. Theatre at the Crossroads: Plays and Playwrights of the Mid-Century American Stage . New York: Holt, Rinehart and Winston Publishers, 1960. Goldman, William. The Season: A Candid Look at Broadway. : Limelight Editions, 1984. Gorney, Sondra K. Brother, Can You Spare A Dime? The Life of Composer Jay Gorney . Lanham, MD: The Scarecrow Press, Inc. 2005. Gross, Brenda. “Audrey Wood.” Notable Women in the American Theatre: A Biographical Dictionary. Eds. Alice M. Robinson, Vera M. Roberts, and Milly S. Barranger. Westport, CT: Greenwood Publishing Group, 1989. pp. 921–925. Hampton, Wilborn. : America’s Storyteller. New York: Free Press, 2009. Henderson, Mary C. Theater in America: Two Hundred Years of Plays, Players, and Productions . New York: Harry N. Abrams, 1986. “Inge, William (Motter),” Current Biography, 1953. New York: H. W. Wilson Company, 1954. pp. 292–293. Inge, William. “Foreword” to A Loss of Roses . New York: Random House, 1960. p. iv. Jowitt, Deborah. Jerome Robbins: His Life, His Theater, His Dance . New York: Simon and Schuster Publishers, 2004. Kazan, Elia. A Life . New York: Alfred A. Knopf, 1988. Kerr, Walter. How Not to Write a Play. New York: Simon and Schuster Publishers, 1955. Kissel, Howard. David Merrick: The Abominable Showman: The Unauthorized Biography . New York: Applause Books, 1993. “Kopit, Arthur.” Contemporary Authors . Detroit, MI: Gale Reference Group, 2002. Kopit, Arthur. “Preface” to Wings . New York: Hill and Wang Publishers, 1978. pp. vi–xvii. L a n g n e r , L a w r e n c e. The Magic Curtain: The Story of a Life in Two Fields, Theatre and Invention . New York: E. P. Dutton, 1951. L a u r e n t s , A r t h u r . Original Story by: A Memoir of Broadway and . New York: Alfred A. Knopf, 2000. L e v e r i c h , L y l e . Tom: The Unknown Tennessee Williams. New York: Crown Publishers, 1995. L o b e n t h a l , J o e l . Tallulah! The Life and Times of a . New York: HarperCollins Publishers, 2004. Logan, Joshua. Josh: My Up and Down, In and Out Life. New York: Delacorte Press, 1976. Lyon, James K. Bertolt Brecht in America . Princeton, NJ: Princeton University Press, 1980. 200 Bibliography

May, Hal, ed. “Audrey Wood (1905–1985).” Contemporary Authors. Vol. 118. Detroit, MI: Gale Research Company, 1986. McGill, Raymond D., ed. “Audrey Wood.” Notable Names in the American Theatre . Clifton, NJ: James T. White and Company, 1976. M u r r a y , C h r i s t o p h e r , e d . Brian Friel Essays, Diaries, Interviews, 1964–1999 . New York: Faber and Faber, 1999. Rigdon, Walter, ed. “Audrey Wood.” The Biographical Encyclopaedia and Who’s Who of the American Theatre . New York: James H. Heineman, 1966. Robinson, Alice M., Vera M. Roberts, and Milly S. Barranger, eds. Notable Women in the American Theatre. Westport, CT: Greenwood Publishing Group, 1989. Roche, Anthony, ed. The Cambridge Companion to Brian Friel. New York: Cambridge University Press, 2006. Sanford, T. W. “Dorothy Heyward and DuBose Heyward.” Dictionary of Literary Biography . Detroit, MI.: The Gale Group, Inc., 2004. pp. 134–147. Savigneau, Josyane. Carson McCullers: A Life. Trans, Joan E. Howard. Boston, MA: Houghton Mifflin, 2001. Schanke, Robert A. Shattered Applause: The Lives of Eva Le Gallienne. Carbondale: Southern Illinois University Press, 1992. Schickel, Richard. Eliz Kazan: A Biography . New York: HarperCollins Publishers, 2005. Schneider, Alan. Entrances: An American Director’s Journey. New York: Viking Penguin, 1986. Rpt. New York: Limelight Editions, 1987. Seff, Richard. Supporting Player: My Life Upon the Wicked Stage. New York: XLibris Corporation, 2006. Selznick, Irene Mayer. A Private View . New York: Alfred A. Knopf, 1983. Sheed, Wilfred. The House that George Built: With a Little Help from Irving, Cole, and a Crew of About Fifty . New York: Random House, 2007. Sheehy, Helen. Eva Le Gallienne: A Biography . New York: Alfred A. Knopf, 1996. ———. : The Life and Theatre of Margo Jones . , TX: Southern Methodist University Press, 1989. Slavick, William H. Dubose Heyward . Boston, MA: Twayne Publishers, 1981. Schneider, Alan. Entrances: An American Director’s Journey. New York: Viking Penguin, 1986. Spoto, Donald. The Kindness of Strangers: The Life of Tennessee Williams . Boston, MA: Little, Brown and Company, 1985. St. Just, Maria. ed. Five O’Clock Angel: Letters of Tennessee Williams to Maria St. Just, 1948–1982 . New York: Alfred A. Knopf, 1990. Thornton, Margaret B., ed. Notebooks: Tennessee Williams . New Haven, CT: Yale University Press, 2006. Turan, Kenneth, and . Free for All: Joe Papp, The Public, and the Greatest Theater Story Ever Told . New York: Doubleday, 2009. Vinson, James, ed. “Robert Anderson.” Contemporary Dramatists. London: St. James Press, 1973. pp. 334–336. Bibliography 201

Voss, Ralph F. A Life of William Inge: The Strains of a Triumph . Lawrence: University Press of Kansas, 1989. Wallach, Eli. The Good, the Bad, and Me: In My Anecdotage. New York: Harcourt, 2005. Weales, Gerald. American Drama Since World War II . New York: Harcourt, Brace and World, 1962. Webster, Margaret. Don’t Put Your Daughter on the Stage. New York: Alfred A. Knopf, 1972. Wertheim, Arthur Frank. Vaudeville Wars: How the Keith-Albee and Orpheum Circuits Controlled the Big-Time and Its Performers. New York: Palgrave Macmillan, 2006. Wharton, John F. Life among the Playwrights: Being Mostly the Story of The Playwrights Producing Company . New York: Qadrangle/The New York Times Book Company, 1974. Wilk, Max. Mr. Williams and Miss Wood: A Two-Character Play. New York: Dramatists Play Service, 1990. Williams, Dakin, and Shepherd Mead. Tennessee Williams: An Intimate Biography . New York: Arbor House Publishing Company, 1983. Williams, Tennessee. Introduction to William Inge, The Dark at the Top of the Stairs . New York: Random House, 1958. pp. viii–ix. ———. Memoirs . New York: Doubleday and Company, 1975. ———. The Selected Letters of Tennessee Williams 1945–1957 . 2 vols. Eds. Albert J. Devlin and Nancy M. Tischler. New York: New Directions Publishing, 2004. Williams, Tennessee, and David Newman. “The Agent as Catalyst,” Esquire , 58 (December 1963): 216–217, 260. Wilmeth, Don B., and Tice L. Miller, eds. Cambridge Guide to American Theatre . New York: Cambridge University Press, 1993. Windham, Donald, ed. Tennessee Williams’ Letters to Donald Windham 1940–1965 . New York: Holt, Rinehart and Winston, 1977. Wolff, Ruth. Notable Women and a Few Equally Notable Men: Plays by Ruth Wolff . New York: Broadway Play Publishing, 2010. Wood, Audrey, with Max Wilk. Represented by Audrey Wood. Garden City, NY: Doubleday and Company, 1981.

A u t h o r ’ s N o t e

Milly S. Barranger is author of books on twentieth-century women and modern American theater: Margaret Webster: A Life in the Theater ; Unfriendly Witnesses: Gender, Theater, and Film in the McCarthy Era ; and A Gambler’s Instinct: The Story of Broadway Producer Cheryl Crawford (a finalist for the 2011 George Freedley Award sponsored by the Theatre Library Association). She is coeditor of Notable Women in the American Theatre: A Biographical Dictionary . Barranger holds the title of Distinguished Professor Emerita of Dramatic Art at the University of North Carolina, Chapel Hill. She is former pro- ducing director of PlayMakers Repertory Company; Past President of the National Theatre Conference and the American Theatre Association; and Dean Emerita of the College of Fellows of the American Theatre.

I n d e x

Abbey Th eatre (Dublin), 135 A n d e r s o n , E d d i e “ R o c h e s t e r , ” 1 8 Abbott, George, 21–22 , 145 Anderson, Judith, 107 , 109 Abe Lincoln in Illinois ( S h e r w o o d ) , 1 8 A n d e r s o n , L i n d s a y , 1 3 2 Abie’s Irish Rose ( N i c h o l s ) , 9 9 A n d e r s o n , M a x w e l l , 6 8 A b z u g , B e l l a , 6 5 A n d e r s o n , P h y l l i s S t o h l . See Phyllis Academy (“Oscar”) Awards, 88 , Stohl 1 1 5 , 1 2 0 A n d e r s o n , R o b e r t , 2 , 4 5 , 6 6 , 6 7 – 7 6 , Actors Laboratory Th eatre 8 3 , 9 2 , 9 5 , 9 6 , 1 2 6 , 1 2 9 , 1 4 7 , (Los Angeles), 37 1 6 6 , 1 6 7 , 1 7 0 A c t o r s S t u d i o ( N Y C ) , 8 6 , 9 2 , 1 1 7 o n A u d r e y W o o d , 9 6 Adler, Stella, 118 c h a r g e o f p l a g i a r i s m , 7 0 A g e n t s , 1 , 2 e d u c a t i o n o f , 6 7 Ages of Man, Th e ( p l a y ) , 1 3 2 m a r r i a g e s , 6 7 , 7 6 A i e l l o , D a n n y , 1 3 8 plays of, 67–83 A i k e n , G e o r g e L . , 9 , 1 2 a s s c r e e n w r i t e r , 6 7 , 7 0 , 7 1 A k i n s , Z o ë , 1 1 , 9 9 t h e m e s o f , 7 5 A l b e e , E d w a r d , 7 3 , 9 6 A n o u i l h , J e a n , 1 1 1 A l e x a n d e r , J o h n , 7 7 A n t o i n e t t e P e r r y ( “ T o n y ” ) A w a r d , 4 5 , (New York), 147 1 2 6 , 1 6 9 ( m u s i c a l ) , 5 6 Apollo of Bellac, Th e Allen, Ralph G., 137 ( G i r a u d o u x - V a l e n c y ) , 7 6 Alley Th eatre (Houston, TX), 167 Arena Stage (Washington, DC), 122 Alvin Th e a t r e ( N Y C ) , 1 6 , 1 0 3 , 1 3 1 Aristocrats ( F r i e l ) , 1 3 6 Amazing Grace ( T e r k e l ) , 1 5 2 A r i s t o p h a n e s , 3 5 A m b a s s a d o r Th eatre (Broadway), 73 A r l e n , H a r o l d , 5 4 , 6 2 Americana ( m u s i c a l ) , 6 3 A r m s t r o n g , L o u i s , 1 8 American Broadcasting Company Arsenic and Old Lace ( K e s s e l r i n g ) , 1 8 ( A B C ) , 1 6 6 A s c h e n b e r g , B r i d g e t , 9 4 , 9 8 American National Th eatre and A s h l e y - S t e i n e r A g e n c y ( A S A ) . Academy (ANTA), 57 See International Famous Agency American Repertory Th eatre Ashley-Steiner-Famous Agency, Inc. ( N Y C ) , 1 6 6 ( A F A ) . See International Famous American Shakespeare Th eatre Agency (Stratford, CT), 126 A s t a i r e , F r e d , 1 5 206 Index

As Th ousands Cheer (musical ), Benchley, Robert, 147 1 7 , 1 0 3 Ben Hur ( p l a y ) , 8 Athas, Daphne, 171 Bennett, Alan, 132 o n t h e L i e b l i n g s , 1 7 1 B e n t l e y , E r i c , 5 8 A t k i n s o n , B r o o k s , 1 7 , 4 5 , 4 6 , 8 2 , 8 9 , B e r g m a n , I n g r i d , 1 5, 1 6 7 9 2 , 1 1 0 , 1 1 2 B e r l i n , I r v i n g , 1 7 , 1 0 3 , 1 4 9 A u d r e y W o o d A g e n c y , 1 6 , 1 8 , 9 9 B e r n h a r d t , S a r a h , 7 , 8 Audrey Wood Th eatre (New York), 170 B e r r y , D a v i d A . , 1 2 9 , 1 3 8 , 1 3 9 , 1 4 7 , Ayckbourn, Alan, 138 , 144 1 6 4 , 1 6 8 , 1 7 1 on Audrey Wood, 171 Baby Doll ( fi l m ) , 4 Beyond the Fringe ( r e v u e ) , 1 3 2 B a c h a r d y , D o n , 1 2 9 , 1 3 7 – 3 8 B i e r l y , K e n n e t h , 6 2 on Audrey Wood, 138 B i g e l o w , P a u l , 8 8 Baddeley, Hermione, 158 B i r k e n h e a d , S u s a n , 1 5 3 Baker, George Pierce, 13 , 101 B l a c k l i s t , 6 2 , 6 4 – 6 6 B a k e r , L e n n y , 1 3 1 B l a c k m u r , S i d n e y , 8 7 , 8 8 B a k e r , P a u l , 1 4 3 , 1 4 5 B l o c h , B e r t r a m , 3 6 B a l a n c h i n e , G e o r g e , 1 8 Bloomer Girl ( H a r b u r g ) , 3 5 , 5 4 , 6 6 Ballad of the Sad Café, Th e Bloomgarden, Kermit, 145 ( M c C u l l e r s ) , 1 1 0 B o l g e r , R a y , 3 6 B a l s a m , M a r t i n , 7 3 Boom! ( fi l m ) , 4 4 , 49 Bankhead, Tallulah, 158 B o o t h , S h i r l e y , 8 6 – 8 7 , 8 8 , 9 4 description of, 158 B o r e t z , A l l e n , 2 1 , 2 2 B a r b e r , P h i l i p , 1 5 B o w d e n , C h a r l e s , 4 4 , 4 7 , 8 2 , 1 3 3 ( S i m o n ) , 1 1 1 B o w l e s , J a n e A u e r , 4 5 , 1 0 9 – 1 0 Barnes, Bill, 164 Bowles, Paul, 107 B a r n e s , C l i v e , 1 4 8 B r a n d o , M a r l o n , 2 3 – 2 4 , 4 3 , 1 3 4 B a r r y , P h i l i p , 1 3 Breakfast at Tiff any’s (Capote), 161 B a r t e r Th eatre (Abingdon, VA), 158 B r e c h t , B e r t o l t , 5 3 , 5 5 – 6 1 , 6 6 , 1 5 8 Battle of Angels ( W i l l i a m s ) , 2 , 3 6 , 3 7 , Lehrstück , 6 0 3 8 , 3 9 , 8 9 , 1 2 4 testimony of, 59–60 r e v i e w s o f , 3 9 B r i d g e s , L l o y d , 7 2 B a x l e y , B a r b a r a , 9 0 Brigadoon ( m u s i c a l ) , 4 2 , 4 3 B a x t e r , K e i t h , 1 3 8 B r o a d h u r s t Th eatre (Broadway), 64 , 148 B e a t t y , W a r r e n , 9 8 B r o a d w a y , 4 , 1 4 , 3 6 , 4 5 , 5 0 , 5 4 , 6 1 , Beaumont, Hugh (“Binkie”), 81 , 117 6 2 – 6 3 , 6 4 , 6 5 , 6 6, 6 8 , 7 1 , 7 2 , Beck, Martin, 8 7 3 , 7 4 , 7 8 , 7 9 , 8 0, 8 1 , 8 6 , 8 8 , 9 3 , B e c k e t t , S a m u e l , 7 3 , 1 1 7 , 1 3 2 9 4 , 1 0 0 , 1 0 2 , 1 0 4 , 1 0 5 , 1 0 7 , 1 0 9 , Bedroom Farce ( A y c k b o u r n ) , 1 3 8 1 1 1 , 1 1 2 , 1 1 5 , 1 1 7 , 1 2 0 , 1 3 2 , 1 3 5 , (Kaufman and 1 3 7 , 1 3 9 , 1 4 4 , 1 4 5 , 1 4 7 – 4 8 , 1 4 9 , C o n n e l l y ) , 1 4 1 6 7 , 1 7 1 B e h r m a n , S . N . , 6 8 a n d c o s t s , 1 4 6 B e l G e d d e s , B a r b a r a , 4 6 , 7 1 , 7 2 and gender issues, 99–100 Index 207

g r a y l i s t s o n , 6 3 Caucasian Chalk Circle, Th e ( B r e c h t ) , 5 8 a n d r a c e , 1 0 3 – 0 4 C e n t u r y P l a y C o m p a n y , 2 , 7 , 1 0 , B r o a d w a y Th eatre (NYC), 7, 8 1 1 – 1 3 , 1 4 , 1 6 , 1 8 , 1 0 1 B r o o k , P e t e r , 8 1 , 8 3 C e r f , B e n n e t t , 3 7 Brooklyn Academy of Music (NY), 167 Chalk Garden, Th e ( H e l l m a n ) , 1 1 1 B r o u n , H e y w o o d , 9, 1 0 Changing Room, Th e (Storey), 132–33 Brown, Anne, 103 reviews of, 133 B r o w n , A r v i n , 7 4 themes of, 132 B r o w n , K a y , 1 4 – 1 5 , 7 0 , 7 7 , 1 4 3 C h e k h o v , A n t o n , 1 6 6 B r u s t e i n , R o b e r t , 9 3 , 1 2 5 Cinderelative (Dorothy Heyward), 103 o n I n g e , 9 3 C i r c l e i n t h e S q u a r e ( N Y C ) , 4 5 , 1 1 1 Burns Mantel Best Plays of 1949–1950, Civic Repertory Th eatre (NYC), 166 Th e , 109 Clarence Brown Th eatre Company B u r s t y n , E l l e n , 1 6 7 (Knoxville, TN), 137 B u r t o n , R i c h a r d , 4 9 C l i f t , M o n t g o m e r y , 4 9 Bus Stop ( I n g e ) , 7 9 , 8 0 , 9 0 , 9 7 , 1 0 7 Clock without Hands ( M c C u l l e r s ) , 1 1 1 c a s t o f , 9 0 C l u r m a n , H a r o l d , 3 7 , 9 0 , 1 0 7 fi l m o f , 94 C o e , R i c h a r d , 1 7 0 r e v i e w s o f , 9 0 C o h a n , G e o r g e M . , 1 8 By Jupiter! ( R o d g e r s a n d H a r t ) , 3 5 , 3 6 Cohen, Alexander H., 132 , 146 C o l e , L e s t e r , 5 9 ( m u s i c a l ) , 6 3 Come Back, Little Sheba ( I n g e ) , 4 5 , 5 3 , Cabin in the Sky ( m u s i c a l ) , 1 7 , 1 8 , 3 5, 7 9 , 8 6 – 8 8 , 9 0 , 9 7 , 9 8 5 4 , 1 0 4 cast of, 86–87 ( m u s i c a l ) , 1 1 8 fi l m o f , 8 Camino Real ( W i l l i a m s ) , 4 5 , 7 9 , 8 9, r e v i e w s o f , 8 5 , 8 8 9 2 , 1 0 1 , 1 4 9 Comes Marching Home ( A n d e r s o n ) , 6 7 r e v i e w s o f 4 5 C o m m u n i s t P a r t y ( C P ) , 5 5, 5 8 , 6 2 Candida (Shaw), 103 C o n n e l l , H e l e n e I n g e , 9 4 Capote, Truman, 161 C o n n e l l y , M a r c , 1 4 C a r n e l i a , C r a i g , 1 5 3 Contractor, Th e (Storey), 133 C a r n e y , A r t , 1 3 1 themes of, 133 C a r r , V i r g i n i a S p e n c e r , 1 0 5 C o o k , B a r b a r a , 6 6 C a r r a d i n e , J o h n , 6 1 C o r n e l l , K a t h a r i n e , 1 7 , 1 0 3 Carter, Jack, 102 Coronet Th eatre (Los Angeles), 57 Casablanca ( fi l m ) , 18 C o r s a r o , F r a n k , 1 1 7 , 1 1 8 Cassidy, Jack, 131 C o s t i g a n , J a m e s , 9 7 – 9 8 , 1 6 4 – 6 6 C a t e s , G i l b e r t , 7 3 Counterattack: Th e Newsletter of Facts Cat on a Hot Tin Roof ( W i l l i a m s ) , 4 4 , to Combat Communism , 6 4 4 6 – 4 7 , 6 8 , 7 1 , 7 9 – 8 0 , 9 2 C o w a n , R o n , 1 6 0 a w a r d s f o r , 4 6 C o w a r d , N o ë l , 4 9 d e d i c a t i o n t o A u d r e y W o o d , 4 7 C r a w f o r d , C h e r y l , 2 , 1 7 , 4 2 , 4 3 , 4 4 , r e v i e w s o f , 4 6 4 5 , 4 6 , 4 8 – 4 9 , 1 0 0 , 1 0 3 , 1 4 5 208 Index

Cronyn, Hume, 36–37 Earplay ( N P R ) , 1 2 4 , 1 2 5 C r o t h e r s , R a c h e l , 1 1 , 9 9 Eckart, William and Jean, 120 Crouse, Russel, 145 E d i s o n Th eatre (NYC), 137 Crystal and Fox ( F r i e l ) , 1 3 1 , 1 3 5 E i s l e r , H a n n s , 5 8 , 5 9 Cukor, George, 165 Ellis, Evelyn, 102 C u m m i n g s , C o n s t a n c e , 1 2 4 , 1 2 5 , 1 2 6 Emperor Jones, Th e ( O ’ N e i l l ) , 1 0 2 E m p i r e Th eatre (Broadway), 17 , 108 Da ( p l a y ) , 1 6 9 Enchanted, Th e ( G i r a u d o u x - V a l e n c y ) , D a l l a s Th eatre Center (TX), 143 , 4 5 , 8 8 1 4 9 , 1 5 0 End of the World with Symposium to Damn Yankees ( m u s i c a l ) , 1 2 8 Follow ( K o p i t ) , 1 1 6 , 1 1 9 , 1 2 7 – 2 8 D a n a , L e o r a , 1 1 0 a b b r e v i a t e d t i t l e , 1 2 7 Dark at the Top of the Stairs, Th e o n B r o a d w a y , 1 2 8 ( I n g e ) , 8 1 , 9 1 – 9 3 , 9 7 dedicated to, 127 cast of, 2 reviews of, 128 fi l m o f , 9 2 , 15 English 47 Workshop (Harvard), 101 r e v i e w s o f , 9 2 Th eatre D a v i s , B e t t e , 5 0 (Broadway), 69 Day the Whores Came out to Play Eugene O’Neill Th eatre Tennis, Th e ( K o p i t ) , 2 1 (Broadway), 95 Dear World ( m u s i c a l ) , 7 6 Eugene O’Neill Th eatre and Memorial D e l f , H a r r y , 1 2 Foundation (Waterford, CT), D e L i a g r e . See Alfred de Liagre 1 6 0 , 1 6 1 , 1 6 8 , 1 7 1 Delicate Balance, A ( A l b e e ) , 1 6 5 Everywhere I Roam ( S u n d g a a r d ) , 1 4 D i e h l , G u s , 1 2 D i l l o n , M e l i n d a , 7 3 Faith Healer, Th e ( F r i e l ) , 1 2 9 , 1 3 3 – 3 6 , Dinner at Eight ( F e r b e r ) , 9 9 1 3 8 , 1 3 9 , 1 4 0 D o n n e l l y , D o n a l , 1 3 5 c a s t i n g o f , 1 3 4 – 3 5 D o u g l a s , M e l v i n , 7 4 dramatic form of, 134 D o w l i n g , E d d i e , 4 2 r e v i e w s o f , 1 3 5 – 3 6 D o w l i n g , R o b e r t W . , 8 1 Family Upstairs, Th e ( D e l f ) , 1 2 D r a m a t i c W o r k s h o p , 6 3 – 6 4, 6 5 F a r r e n , J a c k , 7 3 D r a m a t i s t s G u i l d , 3 7 , 7 5 , 1 1 7 , 1 3 0 Farther off from Heaven D r a m a t i s t s P l a y S e r v i c e , 1 4 9 ( I n g e ) , 8 5 – 8 6 , 9 1 Dream Watcher, Th e (Wersba), 166–67 F e l d m a n , C h a r l e s K . , 4 3 , 4 4 reviews of, 166 , 167 F e r b e r , E d n a , 1 5 , 9 9 , 1 4 7 Duke, Vernon, 18, 104 F e r r e r , M e l , 7 7 – 7 9 Dulcy ( K a u f m a n a n d C o n n e l l y ) , 1 4 F i c h a n d l e r , Z e l d a , 1 2 2 D u m a s , A l e x a n d e r , 1 2 ( m u s i c a l ) , 6 3 Duncan, Todd, 103 F i e l d , B e t t y , 9 4 D u n n o c k , M i l d r e d , 1 0 9 , 1 2 5 F i e l d s , D o r o t h y , 1 3 9 D ü r r e n m a t t , F r i e d r i c h , 7 6 , 7 9 , 8 1 Fields, W. C., 8 D u s e , E l e o n o r a , 1 0 F i g a r o , I n c . ( fi r m ) , 1 2 , 13 Index 209

F i n c h , P e t e r , 7 1 G a z z a r a , B e n , 4 6 Finian’s Rainbow ( m u s i c a l ) , 5 4 – 5 5, 6 1, Gazzo, Michael V., 109 6 2 , 6 6 Gelman, Howard, 124 r e v i e w s o f , 5 5 Gentleman Caller, Th e ( W i l l i a m s ) , 4 0 Flahooly ( m u s i c a l ) , 6 1 , 6 2 , 6 6 G e r s h w i n , G e o r g e , 1 6 – 1 7 , 1 0 1 , 1 0 2 , 1 0 3 Flanagan, Hallie, 100 G e r s h w i n , I r a , 1 6 , 6 2, 1 0 2 , 1 0 3 ( I b s e n ) , 1 0 ( T a l l a h a s s e e ) , 1 6 1 G i b s o n , W i l l i a m , 9 3 F l o u r n e y , R i c h a r d , 1 8 Gielgud, John, 132 F o n d a , H e n r y , 1 5 , 7 1 – 7 2 , 1 5 0 Gingold, Hermione, 121 Fonda, Jane, 150 G i r a u d o u x , J e a n , 7 6 , 8 3 F o n t a n n e , L y n n , 4 9 , 7 8 , 8 0 – 8 1 , 8 2 , 1 6 5 G i s h , L i l l i a n , 7 4 Forty-Sixth Street Th eatre G l a s p e l l , S u s a n , 9 9 (Broadway), 163 Glass, Joanna, 167 F r a n k e l , D o r i s , 1 2, 1 5, 1 9 Glass Menagerie, Th e ( W i l l i a m s ) , 3 5, F r a n k e n , R o s e , 1 1 3 6 , 4 0 , 4 1 , 4 2 , 4 3 , 4 4 , 6 7 , 1 0 1 , F r e d e r i c k , B u r r y , 1 6 7 1 5 2 , 1 5 4 , 1 6 2 , 1 6 5 , 1 6 7 Free and Clear (Anderson), 126 , 167 Broadway opening of, 41 Freedman, Samuel G., 170 C h i c a g o p r e m i e r e o f , 8 4 Freedom of the City ( F r i e l ) , 1 3 1 G l e n v i l l e , P e t e r , 7 1 F r i e l , B r i a n , 2 , 1 2 9 – 3 1 , 1 3 3 – 3 6 , 1 3 8 , ( m u s i c a l ) , 1 5 2 1 3 9 – 4 0 , 1 4 3 , 1 6 4 , 1 6 9 , 1 7 1 Goodman Th eatre (Chicago), 131 , 153 on Audrey Wood, 133 , 140 , 171 Good Soldier Schweik, Th e ( H a š e k ) , 5 9 background, 130 Good War: An Oral History of World description of, 130 War II, Th e ( T e r k e l ) , 1 5 4 p l a y s o f , 1 2 9 – 3 1 , 1 3 3 , 1 3 5 – 3 6 , Good Woman of Setzuan, Th e 1 3 8 , 1 3 9 ( B r e c h t ) , 5 8 t h e m e s o f p l a y s , 1 3 6 G o r d o n , M a x , 1 8 , 1 4 5 F r i n g s , K e t t i , 8 8 Gordon, Ruth, 131 From Here To Eternity ( fi l m ) , 68 G o r n e y , J a y , 5 3 , 5 4 , 6 2 , 6 3 – 6 6 Fugitive Kind, Th e ( fi l m ) , 4 4 , 72 blacklisting of, 64–66 F u n k e , L e w i s B . , 4 1, 9 5, 1 3 3 , 1 4 6 t e s t i m o n y o f , 6 5 ( S t y n e ) , 6 3 , 1 1 0 Gorney, Sondra K., 66 Funny Th ing Happened on the Way to G o t h a m B o o k M a r t ( N Y C ) , 1 7 3 the Forum, A ( m u s i c a l ) , 6 3 G o t t l i e b , M o r t o n , 1 3 4 – 3 5 Graczyk, Ed, 139 G a l e , Z o n a , 9 9 Grand Hotel ( p l a y ) , 1 6 Galileo ( B r e c h t - L a u g h t o n ) , 5 4 , 5 5 – 5 9 , G r a n t , M i c k i , 1 5 3 6 1 , 6 4 , 6 7 Great Sebastians, Th e (Lindsay and r e v i e w s o f , 5 7 , 6 1 C r o u s e ) , 7 9 , 8 0 , 8 1 Garden District ( W i l l i a m s ) , 8 1 Great White Hope, Th e ( S a c k l e r ) , 1 2 2 G a r d n e r , A v a , 4 9 Green, Paul, 102 G a s s n e r , J o h n , 3 7 , 6 7 Grizzard, George, 73 , 150 210 Index

Group Th e a t r e , 3 7 , 4 3 , 7 5 , 1 0 0 Th eatre G. R. Point ( B a r r y ) , 1 2 9 , 1 3 8 , 1 4 7 (Broadway), 130 a w a r d s f o r , 1 3 8 H e l l m a n , L i l l i a n , 2 , 9 9 , 1 6 2 Guare, John, 160 on Tennessee Williams’s G u t h r i e , T y r o n e , 1 3 0 – 3 1 legacy, 162 G u t h r i e Th e a t e r ( M i n n e a p o l i s ) , 1 3 1 , 14 Hello, Dolly! ( m u s i c a l ) , 1 2 9 Gwynne, Fred, 148 H e p b u r n , A u d r e y , 7 1 , 7 7 – 7 8 , 7 9 ( m u s i c a l ) , 1 1 9 H e p b u r n , K a t h a r i n e , 1 5 , 3 5 , 4 9 , 8 7 , 1 6 5 – 6 6 H a c k m a n , G e n e , 7 4 Herlie, Eileen, 162 , 163 ( m u s i c a l ) , 6 3 , 7 3 H e r m a n , J e r r y , 7 6 H a l e , L o u i s e C l o s s e r , 1 5 2 H e r t z , D a v i d , 1 3 H a m b l e t o n , T . E d w a r d , 5 7 , 5 9 , H e w i t t , A l a n , 7 7 1 2 0 , 1 3 7 H e y w a r d , D o r o t h y , 2 , 1 4 , 1 6 , 1 7 , 4 2 , H a m m e r s t e i n , O s c a r , I I , 5 6 9 9 , 1 0 1 – 0 4 Hampstead Th eatre Club p l a y s o f , 1 0 2 – 0 3 (London), 162 H e y w a r d , D u B o s e , 2 , 1 4, 1 6 , 1 7 , 4 2 , Happiest Girl in the World, Th e 9 9 , 1 0 3 ( m u s i c a l ) , 6 5 death of, 104 H a r b u r g , E d g a r Y . ( “ Y i p ” ) , 5 3, 5 4 – 5 5 , w r i t i n g s o f , 1 6 , 9 9 , 1 0 1 , 1 0 2 6 1 – 6 3 , 6 5 , 6 6, 1 2 1 H i n g l e , P a t , 9 2 b l a c k l i s t i n g o f , 6 1 H o l b r o o k , H a l , 7 4 Hard Times: An Oral History of the H o l d e n , W i l l i a m , 8 9 ( T e r k e l ) , 1 5 1 H o l l y w o o d , 1 3 – 1 4 , 1 6 , 1 8 , 3 7 , 4 2 , 4 3 , H a r r i s , B a r b a r a , 1 2 1 4 4 , 5 4 , 5 5 , 5 7 , 6 0 , 6 1 , 6 2 , 6 3 , 6 4 , H a r r i s , J u l i e , 1 0 7 , 1 0 9, 1 1 3 , 1 3 4 6 6 , 7 1 , 8 8 , 1 2 1 Harris, Sam H., 18 a n d t h e b l a c k l i s t , 5 4 Harry Ransom Humanities Research a n d t h e W a l d o r f S t a t e m e n t , 6 4 C e n t e r ( A u s t i n , T X ) , 4 6 , 1 6 1 H o l l y w o o d T e n , 5 4 – 5 5 , 5 8 , 6 4 , 6 5 H a r t , L o r e n z , 3 6 H o l l y w o o d W r i t e r s ’ M o b i l i z a t i o n , 6 2 H a r t , M a x , 1 0 Home ( S t o r e y ) , 1 3 1 – 3 2 , 1 4 6 Hart, Moss, 102 cast of, 132 Hartford Stage Company (CT), 144 reviews of, 132 H a y e s , H e l e n , 3 7 Homecoming, Th e (Pinter), 132 H a y w a r d , L e l a n d , 1 4 – 1 5 , 9 7 , 1 2 0 , 1 4 5 H o r n e , L e n a , 1 8 , 6 6 H a z a r d , L a w r e n c e , 1 2 , 1 4 , 1 8 Hotchner, A. E., 139 , 168 H a z e n , J o s e p h , 8 8 Hot September ( m u s i c a l ) , 9 7 Heartsong ( L a u r e n t s ) , 4 2 Houghton, Norris, 120 Heaven Can Wait ( S e g a l l ) , 1 8 H o u s e m a n , J o h n , 5 7 Heaven on Earth ( m u s i c a l ) , 6 3 H o w a r d , S i d n e y , 1 3 , 6 8 H e c h t , B e n , 1 5 H u d s o n Th eatre (NJ), 9 H e c k a r t , E i l e e n , 7 3 , 9 2 H u g h e s , B a r n a r d , 1 6 9 H e l b u r n , Th e r e s a , 3 7 , 3 9, 1 0 0 , 145 H u n t , L i n d a , 1 2 8 Index 211

H u n t , M a r t i t a , 7 7 Jamaica ( m u s i c a l ) , 6 6 H u n t e r , K i m , 4 3 Jazz Singer, Th e ( fi l m ) , 1 4 , 16 Hunter College of the City of John F. Kennedy Center for the New York, 10 Performing Arts (Washington, D C ) , 1 2 6 , 1 3 1 , 1 4 7 , 1 4 8 , 1 6 7 , I b s e n , H e n r i k , 1 0 1 6 8 , 1 7 0 Iceman Cometh, Th e ( O ’ N e i l l ) , 1 1 1 J o h n s o n , G r e e r , 1 0 5 , 1 0 6 I C M . See International Creative Johnson, Nora, 110 Management J o l s o n , A l , 1 4 , 1 6 In Abraham’s Bosom ( G r e e n ) , 1 0 2 J o n e s , M a r g o , 4 4 , 8 5 , 9 1 P u l i t z e r P r i z e f o r , 1 0 2 d e a t h o f , 9 1 Indians ( K o p i t ) , 1 2 2 – 2 3 , 1 2 4 J o n e s , P r e s t o n , 2 , 1 4 3 – 5 1 , 1 7 4 s t a g i n g o f , 1 2 2 – 2 3 d e a t h o f , 1 4 9 – 5 0 I Never Sang for my Father documentary fi lm on, 150 ( A n d e r s o n ) , 6 7 , 7 3 – 7 4 p l a y s o f , 1 4 3 – 4 4 , 1 4 5 , 1 4 9 c a s t o f , 7 4 o n p l a y w r i t i n g , 1 4 3 – 4 4 fi l m o f , 74 t r i l o g y b y , 1 4 3 , 1 4 6 , 1 4 7 – 4 9 , 1 5 0 r e v i e w s o f , 7 4 J o n e s , S h i r l e y , 7 2 I n g e , W i l l i a m , 2 , 4 5 , 6 6 , 7 1 , 7 6 , 8 0 , Jonica (Dorothy Heyward), 103 8 3 , 8 5 – 9 8 , 1 0 7 , 1 0 9 , 1 1 5 , 1 2 9 , J o u v e t , L o u i s , 8 3 1 3 6 , 1 4 8 , 1 4 9 , 1 5 7, 1 7 0 Academy award for original K a n e , T o m , 1 0 , 1 1, 1 2, 1 4 screenplay, 115 Kanfer, Stefan, 162 alcoholism of, 87–88 K a u f m a n , G e o r g e S . , 1 4 , 7 7 , 1 0 2 , d e a t h o f , 9 8 1 4 7 , 1 6 7 International Creative Management Kaye, Clarissa, 134 ( I C M ) , 5 1 , 1 3 7 , 1 3 9 , 1 4 3 , 1 4 6 , K a z a n , E l i a , 4 3 , 4 6 , 4 7 , 4 8 , 6 8 , 6 9 , 1 6 4 , 1 6 8 , 1 7 4 9 2 , 9 5 International Famous Agency (IFA), K e a c h , S t a c y , 1 2 3 5 1 , 7 2 , 1 1 0 , 1 3 7, 1 6 0 , 1 6 1 , 1 7 4 K e a t h l e y , G e o r g e , 4 8 , 1 1 2 , 1 6 2 , 1 6 3 In the Bar of a Tokyo Hotel Keith, B. F., 8 , 9 (Williams), 49 , 160 K e r r , D e b o r a h , 4 9 , 6 8 , 1 3 5 In the Summer House ( J . B o w l e s ) , 1 0 1 , K e r r , J e a n , 6 3 109–10 K e r r , J o h n , 6 8 cast of, 109 K e r r , W a l t e r , 6 3 , 7 3 , 9 7 , 1 3 6 , 1 6 7 reviews of, 110 K e s s e l r i n g , J o s e p h , 1 2 , 1 8 Ionesco, Eugène, 116 Killing of Sister George, Th e I s h e r w o o d , C h r i s t o p h e r , 1 2 9 , 1 3 7 – 3 8 ( M a r c u s ) , 7 4 , 1 3 5 , 1 6 1 Ivanhoe Th eatre (Chicago), 157 , 162 King and I, Th e ( m u s i c a l ) , 1 1 8 I v e s , B u r l , 4 6 Kingdom of Earth ( W i l l i a m s ) , 4 9 Kismet ( m u s i c a l ) , 1 1 1 Jack Lawrence Th eatre (NYC), 170 Kiss Me, Kate ( m u s i c a l ) , 1 1 1 Jagers, Dorothy de, 103 Knockout ( L a R u s s o ) , 1 2 9 , 1 3 8 212 Index

Konacky, Isobel Robins, 133 , 171 L i e b l i n g , M o r r i s , 2 6 on Audrey Wood, 171 L i e b l i n g , M r s . M o r r i s , 2 6 , 2 7 K o p i t , A r t h u r , 2 , 9 5 , 1 1 5 , 1 1 6 , 1 1 8 , L i e b l i n g , W i l l i a m , 1 8 – 2 0 , 3 5 – 3 6 , 4 9 , 1 1 9 , 1 2 0 – 2 1 , 1 2 2 – 2 3 , 1 2 6 – 2 8 , 5 0 , 5 1 , 5 6 , 6 3 , 1 1 6, 1 1 7 , 1 2 2 , 1 3 4 , 1 2 9 , 1 6 6 , 1 6 8 , 1 7 0 1 5 0 , 1 5 1 , 1 5 2 , 1 5 7 , 1 6 0 , 1 6 1 , 1 7 2 on Audrey Wood, 116 , 128 , 170 b a c k g r o u n d o f , 2 6 on autobiographical format, 125 a s c a s t i n g a g e n t , 1 8 , 2 3 – 2 4 , 2 6 , 4 3 awards, 128 c l i e n t l i s t , 1 7 3 – 7 5 as a “custom tailor,” 127 d e a t h o f , 5 1 at Harvard University (Mass.), 116 d e s c r i p t i o n o f , 1 9 musical book for Nine , 126 i l l n e s s o f , 7 4 , 1 6 0 , 1 6 1 p a r e n t s o f , 1 1 5 – 1 6 illustration of, 173 p l a y s o f , 1 1 6 – 2 8 , 1 1 9 , 1 2 0 – 2 1 , marriage of, 26–27 1 2 2 – 2 3 p a r e n t s o f , 2 6 , 2 7 o n t h e a t e r , 1 2 7 r e p u t a t i o n o f , 1 9 , 2 4 Kramer, Terry Allen, 137 Sarasota (FL) residence of, 116 s i n g i n g c a r e e r , 2 6 L a d d , D i a n e , 1 4 8 i n U . S . m i l i t a r y , 2 6 Lamp at Midnight ( S t a v i s ) , 5 6 i n v a u d e v i l l e , 2 6 L a n c a s t e r , B u r t , 8 8 L i e b l i n g - W o o d A g e n c y , 1 , 1 2 , 1 5 , 1 7 , L a n e , B u r t o n , 5 4 2 0 , 3 5 , 3 6 , 4 5 , 4 7 , 5 0 , 5 1 , 5 4 , 5 5 , L a n g n e r , L a w r e n c e , 3 9 , 4 4, 8 6 , 1 0 2 , 1 4 5 6 3 , 6 7 , 8 2 , 8 6 , 1 0 0 , 1 0 3 Lantz, Robert, 113 b e g i n n i n g o f , 2 0 L a r d n e r , R i n g , J r . , 5 9 , 6 2 c l i e n t l i s t o f , 1 7 3 – 7 5 L a r k i n , P e t e r , 7 9 plays represented by, 21–49 L a R u s s o , L o u i s , 1 2 9 , 1 3 8 s a l e o f , 4 9 , 6 7 Laskey, Floria, 164 Lithgow, John, 150 Last Meeting of the Knights of the L i t t , J a c o b , 7 White Magnolia, Th e Little Foxes, Th e ( H e l l m a n ) , 9 9 , 1 5 8 ( J o n e s ) , 1 4 3 , 1 4 4 , 1 4 5 L o g a n , E l l a , 5 5 Last of Mrs. Cheyney, Th e ( p l a y ) , 1 3 5 L o g a n , J o s h u a , 8 9 , 9 7 , 1 6 9 LaTouche, John, 17–18 , 104 L o n g a c r e Th eatre (Broadway), 74 , 135 Latzell, William R., 54 Long Day’s Journey into Night L a u g h l i n , J a m e s , 1 6 4 ( O ’ N e i l l ) , 1 1 1 , 1 2 5 L a u g h t o n , C h a r l e s , 5 3 , 5 5 – 6 1 Long Wharf Th eatre (New Haven, L a u r e n t s , A r t h u r , 4 2 C T ) , 7 4 , 1 3 3 , 1 4 4 Leachman, Cloris, 150 Look Homeward Angel L e a g u e o f A m e r i c a n W r i t e r s , 6 2 ( W o l f e - F r i n g s ) , 8 8 L e G a l l i e n n e , E v a , 1 6 6 – 6 7 L o s e y , J o s e p h , 5 7, 5 9 as client of Audrey Wood, 166–67 Loss of Roses, A ( I n g e ) , 7 2 , 8 2 , 9 4 – 9 5 , L e i g h t o n , I s a b e l , 3 5 1 1 5 , 1 3 6 , 1 4 9 L e n y a , L o t t e , 1 5 2 c a s t o f , 9 4 Liagre, Alfred de, 44 r e v i e w s o f , 9 5 Index 213

Love Among the Ruins ( C o s t i g a n ) , 9 8, Direction of the Marquis de Sade ) 1 6 4 – 6 6 (), 129 E m m y A w a r d s f o r , 1 6 6 M a r c u s , F r a n k , 1 3 5 reviews of, 166 Mark Taper Forum Th eatre a s t e l e v i s i o n , 9 8 , 1 6 5 (Los Angeles), 135 , 144 Lovers ( F r i e l ) , 1 3 1 , 1 3 5 M a r r e , A l b e r t , 1 1 1 , 1 3 8 Loves of Cass McGuire, Th e ( F r i e l ) , 1 2 9 , Martin Beck Th eatre (Broadway), 48 1 3 1 , 1 6 1 M a s o n , J a m e s , 1 3 4 , 1 3 6 Lu Ann Hampton Laverty Oberlander fi lms of, 134 ( J o n e s ) , 1 4 3 , 1 4 5 Matthews, Hale, 110 Luce, Claire, 158 M C A . See Music Corporation of L u n t , A l f r e d , 4 9, 7 7 , 7 8 , 7 9 , 8 0 – 8 1 , America 8 2 , 1 6 5 M c C a r t e r Th eatre (NJ), 167 Lunt-Fontanne Th eatre (Broadway), McCarthy, Joseph R., 53 8 0 , 8 1 – 8 2 , 1 1 8 , 1 2 7 M c C a r t h y i s m , 5 3 , 6 8 , 6 9 o p e n i n g o f , 8 2 McClendon, Rose, 102 (Schisgal), 171 M c C l i n t i c , G u t h r i e , 4 2, 4 4 L y c e u m Th eatre (Broadway), 124 , M c C r a c k e n , J o a n , 6 1 1 2 6 , 1 3 7 M c C u l l e r s , C a r s o n , 2 , 1 8 , 4 7 , 8 3 , 8 8 , Lyric Th eatre (Hammersmith, 1 0 4 – 1 3 , 1 2 9 , 1 4 7 , 1 7 0 L o n d o n ) , 1 1 8 as client of Audrey Wood, 106–12 Lysistrata ( A r i s t o p h a n e s ) , 3 5 death of, 113 description of, 105 , 106 , 107 M a c A r t h u r , C h a r l e s , 1 5 h e a l t h i s s u e s , 1 0 5 , 1 1 1 M a c G r a t h , L e u e e n , 7 7 m a r r i a g e o f , 1 0 5 – 0 9 Machinal ( T r e a d w e l l ) , 9 9 o n Th e Member of the Wedding , 108 Madden, John, 124 , 125 , 162 p l a y s o f , 1 0 6 – 0 9, 1 1 1 – 1 3 Madwoman of Chaillot, Th e McCullers, Reeves, 105 , 109 ( G i r a u d o u x - V a l e n c y ) , 5 3 , 7 6, 7 7 M c K e n n a , S i o b h a n , 1 3 7 , 1 3 8 fi l m o f , 76 M e a c h a m , A n n e , 7 7 Magnifi cent Yankee, Th e (television), 165 M e a d o w , L y n n e , 1 3 9 M a l d e n , K a r l , 4 3 Measures Taken, Th e ( B r e c h t ) , 5 9 Mamba’s Daughters (DuBose Meeting by the River, A (Isherwood- H e y w a r d ) , 1 7 – 1 8 , 1 0 0 , 1 0 1 , B a c h a r d y ) , 1 2 9 , 1 3 7 – 3 8 1 0 3 – 0 4 c a s t o f , 1 3 7 , 1 3 8 Mamoulian, Rouben, 102 , 103 Meet the People (musical revue), 64 Th eatre Club (NYC), 139 Member of the Wedding, Th e Mankiewicz, Joseph, 112 ( M c C u l l e r s ) , 4 5 , 8 8 , 9 0 , 1 0 0 , M a n n , D a n i e l , 8 6 , 9 4 1 0 1 , 1 0 4 , 1 0 6 – 0 9 , 1 0 7 – 1 0 , 1 4 7 Marat/Sade ( Th e Persecution and awards, 109 Assassination of Jean-Paul Marat c a s t i n g o f , 1 0 7 – 0 8 as Performed by the Inmates of the fi lm of, 110 Asylum of Charenton under the reviews of, 108 214 Index

M e r l o , F r a n k , 4 4 , 5 0 National Public Radio (NPR), 124 M e r r i c k , D a v i d , 4 4, 1 2 9 , 1 3 0 , 1 5 8 N a t i o n a l Th eatre (Washington, M e t r o - G o l d w y n - M a y e r ( M G M ) , 4 0 , D C ) , 1 0 3 4 1 , 4 6 , 6 2 , 7 0 Natural Aff ection ( I n g e ) , 9 4 , 9 6 Miles of Heaven ( H e r t z ) , 1 3 r e v i e w s o f , 9 6 Milk Train Doesn’t Stop Here Anymore, Nazimova, Alla, 8 Th e ( W i l l i a m s ) , 4 9, 1 5 7 , 1 5 8 – 5 9 Nesbitt, Cathleen, 152 reviews of, 158 N e w D r a m a t i s t s , 7 5 M i l l e r , A n n , 1 3 7 N e w m a n , P a u l , 4 8 , 1 2 3 , 1 3 4 M i l l e r , A r t h u r , 7 5 , 9 3 New School of social Research Mister Roberts ( p l a y ) , 8 9 ( N Y C ) , 6 4 , 6 7 Moon for the Misbegotten, Th e New York Shakespeare Festival/Public ( O ’ N e i l l ) , 1 6 9 Th e a t e r , 1 2 5 , 1 4 4 , 1 4 6 M o o r e , C o n s t a n c e , 3 6 N i c h o l s , A n n e , 1 1 , 9 9 Moore, Dudley, 132 N i c h o l s , D a n d y , 1 3 2 M o r i a r t y , M i c h a e l , 1 3 8 Night Music ( O d e t s ) , 3 7 Morosco Th eatre (Broadway), 47 Night of the Iguana, Th e (Williams), Morse, Robert, 121 4 4 , 4 9 , 5 0 – 5 1 , 1 1 5 , 1 3 3 M o s e s , H a r r y , 1 6 Nine ( m u s i c a l ) , 1 2 6 – 2 7, 1 6 8 Mother Courage and Her Children Norman Conquests, Th e ( B r e c h t ) , 5 8 ( A y c k b o u r n ) , 1 4 4 Mundy Scheme, Th e ( F r i e l ) , 1 3 1 , 1 3 5 N o r t o n , E l l i o t , 3 9 M u r r a y , J o h n , 2 1 , 2 2 No Time for Comedy ( B e h r m a n ) , 1 0 3 Music Box Th eatre (Broadway), 45 , 128 N o v a k , K i m , 9 0 Music Corporation of America Nun’s Story, Th e ( fi l m ) , 7 0 , 7 1 , 7 2 , 82 ( M C A ) , 4 9 , 5 0 – 5 1 , 7 3 , 9 4 , 1 1 2 , 1 1 5 , 1 1 8 Odd Couple, Th e ( S i m o n ) , 1 1 1 purchase of Liebling-Wood O d e t s , C l i ff o r d , 3 7, 1 07 A g e n c y , 4 9 O ff B r o a d w a y , 9 3 , 1 1 0 , 1 1 1 , 1 2 0 , 1 3 8 , U S g o v e r n m e n t c a s e a g a i n s t , 5 0 – 5 1 1 3 9 , 1 4 6 , 1 6 1 , 1 6 7 , 1 7 0 ( p l a y ) , 8 6 Oh, Calcutta! ( r e v u e ) , 7 3 Oh Dad, Poor Dad, Mama’s Hung You National Academy of Arts and in the Closet And I’m Feelin’ So L e t t e r s , 1 6 2 Sad ( K o p i t ) , 1 1 6 – 1 8 , 1 2 0 – 2 1 , 1 2 2 award to Tennessee Williams, 162 Broadway production of, 121 National Broadcasting Company c a s t s f o r , 1 1 8 , 1 2 0 , 1 2 1 ( N B C ) , 1 5 0 , 1 5 1 fi lm of, 121 p r o d u c e r o f S t u d s ’ P l a c e ” ( r a d i o ) , 1 5 1 L o n d o n p r o d u c t i o n o f , 1 1 7 – 1 8 producer of A Texas Trilogy London reviews of, 118 (television), 150 O ff Broadway production of, 120 National Council of Soviet-American s t a g i n g o f , 1 2 0 – 2 1 F r i e n d s h i p , 6 2 as tragifarce, 120 National Playwrights Conference Oldest Living Graduate, Th e ( J o n e s ) , (Waterford, CT), 143 , 160 1 4 3 , 1 4 5 , 1 5 0 Index 215

Old Vic Th eatre (London), 131 P u l i t i z e r P r i z e f o r , 8 9 Olivier, Sir Laurence, 125 , 165–66 r e v i e w s o f , 8 9 Oliver, Tom, 160 Pintauro, Joseph, 139 , 168 Ondine ( G i r a u d o u x - V a l e n c y ) , 7 6 – 7 9 Pinter, Harold, 117 , 132 a w a r d s f o r , 7 9 Pippin ( m u s i c a l ) , 1 5 2 c a s t o f , 7 7 P i s c a t o r , E r w i n , 6 3 fi l m o f , 76 Place on the Magdalena Flats, A r e v i e w s o f , 7 9 ( J o n e s ) , 1 4 9 O ’ N e i l l , E u g e n e , 3 , 1 3, 7 1 , 9 3 , 1 0 2 , Playwrights’ Producing Company, 1 3 5 , 1 4 8 4 6 , 6 8 , 6 9 , 7 1, 7 5 , 7 7 , 1 0 0 , O ’ N e i l l F o u n d a t i o n . See Eugene 1 0 7 , 1 0 9 O’Neill Foundation and producers of, 68 Orpheus Descending ( W i l l i a m s ) , 8 1 , ( S i m o n ) , 7 3 8 9 , 9 3 Polakov, Lester, 108 O s b o r n e , P a u l , 1 5 Porgy ( H e y w a r d ) , 1 6 , 9 9 , 1 0 1 , 1 0 2 Osterman, Lester, 94 , 169 cast of, 102 (Wilder), 144 reviews of, 102 Out Cry ( W i l l i a m s ) , 1 3 3 , 1 6 2 – 6 4 Porgy and Bess ( m u s i c a l ) , 1 6 – 1 7 , cast of, 162 1 0 1 – 0 2 , 1 0 3 reviews of, 162 Portrait of a Madonna ( W i l l i a m s ) , 3 7 Prince, Harold, 128 , 141 P a g e , G e r a l d i n e , 4 5 , 4 8 i l l u s t r a t i o n o f 1 4 1 Pajama Game, Th e ( m u s i c a l ) , 1 2 8 Prisoner of Zenda ( p l a y ) , 9 P a l a c e Th eatre (Broadway), 2 , 7 , 8 , P r o d u c e r s ’ Th e a t r e , 8 0 –81 9 9 , 1 3 7 P u l i t z e r P r i z e , 4 3 , 4 6 , 8 1, 8 9 , 1 0 9 , 1 5 4 P a p p , J o s e p h , 1 2 5 , 1 4 6 – 4 7 (Hollywood), 121 Q u i n t e r o , J o s é , 4 5 , 1 1 0 , 1 1 1 – 1 2 , 1 3 5 P a r k e r , D o r o t h y , 2 , 1 4 7 P a r s o n s , E s t e l l e , 1 1 0 R a b b , E l l i s , 1 6 7 P e a r s o n , S y b i l l e , 1 3 9 , 1 6 8 R a t t i g a n , T e r e n c e , 5 6 P e m b e r t o n , B r o c k , 1 4 5 Red Channels: Th e Report of Pendleton, Austin, 120 Communist Infl uence in Period of Adjustment ( W i l l i a m s ) , 4 8 , Radio and Television , 6 1 4 9 , 1 1 5 R e g i o n a l t h e a t e r , 1 4 3 , 1 4 6 Perry, Antoinette, 145 Reid, Kate, 131 ( m u s i c a l ) , 1 1 8 Remember ( J o n e s ) , 1 4 9 Philadelphia, Here I Come! ( F r i e l ) , Repertory Th eatre of Lincoln Center 1 2 9 – 3 0 , 1 3 1 , 1 3 5 , 1 4 0 ( N Y C ) , 1 0 7 casting of, 135 Repertory Th eatre of St. Louis reviews of, 131 (MO), 168 Philadelphia Story, Th e ( p l a y ) , 8 6 Report from a Chinese Village (Jan Phoenix Th eatre (Off Broadway), 120 M y r d a l ) , 1 5 1 Picnic ( I n g e ) , 7 9 , 8 8 – 9 0 , 9 1 , 9 7 , 1 6 9 Represented by Audrey Wood , 1 , 1 6 4 , fi l m o f , 8 9 –9 0 , 94 1 6 8 , 1 6 9 216 Index

Resistible Rise of Arturo Ui, Th e S a r d i ’ s R e s t a u r a n t ( N Y C ) , 1 5 , 1 9 , 2 0 , (Brecht), 158 4 3 , 6 8 , 1 6 9 Resurrection ( fi l m ) , 1 67 Schaefer, George, 165 Return to Paradise ( fi l m ) , 7 0 , 71 Schisgal, Murray, 170 , 171 R e y h e r , F e r d i n a n d , 5 8 S c h n e i d e r , A l a n , 7 3 , 1 4 7 , 1 4 8 R e y n o l d s , L e e , 1 3 3 Schrier, Morris, 161 R i c e , E l m e r , 6 8 S c h w a r t z , S t e p h e n , 1 5 2 – 5 4 Richard L. Coe Award, 170 Seattle Repertory Th eatre (WA), 167 R i c h a r d s o n , R a l p h , 1 3 2 S e a w e l l , D o n a l d , 8 0 R i c h a r d s o n , T o n y , 9 6 , 1 5 8 , 1 5 9 S e g a l l , H a r r y , 1 8 R i g b y , H a r r y , 1 3 2 S e l d e s , M a r i a n , 7 7 Rip Van Winkle ( p l a y ) , 9 S e l w y n B r o t h e r s ( p r o d u c e r s ) , 9 9 R o b b i n s , J e r o m e , 1 1 8 – 2 1 S e l z n i c k , I r e n e , 4 2 , 4 3 , 4 4 R o b e s o n , P a u l , 6 4 , 1 0 2 Seven Descents of Myrtle, Th e Rodgers, Mary, 153 (Williams), 49 , 160 R o d g e r s , R i c h a r d , 3 6 , 5 6 Seventeen ( B o o t h T a r k i n g t o n ) , 1 0 Rodriquez, Pancho, 104 Shadow Box, Th e ( p l a y ) , 1 6 9 ( fi l m ) , 7 S h a w , I r w i n , 1 0 7 Roman Spring of Mrs. Stone, Th e S h e l d o n , E d w a r d , 1 3 ( fi l m ) , 4 S h e l t o n , S l o a n e , 7 4 Room Service (Murray and Shenandoah ( p l a y ) , 8 B o r e t z ) , 7 4 , 1 6 9 S h e r w o o d , R o b e r t E . , 6 8, 7 7 Rooney, Mickey, 137 S h u b e r t , L e e , 6 3 , 9 9 , 1 4 5 Root, Lynn, 17 , 104 Shubert Th eatre (New Haven, Rose Tattoo, Th e ( W i l l i a m s ) , 4 3 , 4 4 , C T ) . 1 3 , 6 8 4 5 , 7 9 , 8 8 , 1 0 1, 1 6 2 Silent Night, Lonely Night Royal Court Th eatre (London), 132 ( A n d e r s o n ) , 7 1 – 7 2 , 8 2 Royal Family, Th e ( K a u f m a n ) , 1 6 7 S i l v e r , J o e , 7 3 R o y a l t o n H o t e l ( N Y C ) , 4 3 , 1 4 7 , S i m o n , N e i l , 7 3 , 1 1 1 , 1 6 3 1 6 8 , 1 6 9 Sing to Me Th rough Open Windows R o z a k i s , G r e g o r y , 9 6 ( K o p i t ) , 1 2 0 Slapstick Tragedy, Th e ( W i l l i a m s ) , 4 9 , S a b i n s o n , L e e , 5 4 1 3 3 , 1 5 9 S a i d y , F r e d , 5 4 Sleuth ( p l a y ) , 1 3 4 St. Just, Lady Maria Bretneva, 163 S m a l l e n s , A l e x a n d e r , 1 7 , 1 0 3 S a i n t - S u b b e r , A r n o l d , 9 2 , 9 4 , 1 1 1 , 1 1 2 Smith, Oliver, 109 Salisbury, Leah, 131 Snow Orchid, Th e (Pintauro), 168 Sally and Marsha ( P e a r s o n ) , 1 6 8 Solitaire/Double Solitaire S a l m i , A l b e r t , 9 0 (Anderson), 74–75 Same Time Next Year ( p l a y ) , 1 3 4 S o n d e r g a a r d , H e s t e r , 6 0 Sand Pebbles ( fi l m ) , 70 S o n d h e i m , S t e p h e n , 6 3 Santa Fe Sunshine ( J o n e s ) , 1 4 9 Sorry, Wrong Number ( fi l m ) , 8 Sarah in America ( W o l ff ) , 1 68 Sound of Music, Th e ( m u s i c a l ) , 1 5 Index 217

South Pacifi c ( m u s i c a l ) , 1 5 , 8 4 , 1 0 9 Styne, Jule, 110 ( fi l m ) , 9 2 , 95 Suddenly Last Summer ( W i l l i a m s ) , 4 4 , s c r e e n p l a y b y I n g e , 9 2 4 9 , 7 2 , 8 2 Sporting Life ( p l a y ) , 7 fi l m o f , 82 S p o t o , D o n a l d , 8 9 , 9 3 Babies ( A l l e n ) , 1 3 7 Spring Again ( p l a y ) , 3 6 Summer and Smoke ( W i l l i a m s ) , 4 1, Square Root of Wonderful ( M c C u l l e r s ) , 4 4 – 4 5 , 1 0 5 , 1 1 2 8 1 , 1 0 9 , 1 1 1 – 1 3 , 1 3 5 Summer Brave ( I n g e ) , 9 1 , 9 4 reviews of, 112 S u n d g a a r d , A r n o l d , 1 4, 1 8 Stanford University (CA), 161 S u s s k i n d , D a v i d , 1 2 2 – 2 3 S t a n l e y , K i m , 9 0 , 9 6 Sweet Bird of Youth ( W i l l i a m s ) , 4 4 , 4 8 , Stapleton, Jean, 109 7 2 , 8 2 , 1 1 2 , 1 6 3 S t a p l e t o n , M a u r e e n , 4 5 , 1 3 4 , 1 5 2 c a s t i n g o f , 4 8 S t a v i s , B a r r y , 5 6 r e v i e w s o f , 4 8 S t e v e n s , R o g e r L . , 4 4 , 7 7 , 8 0 – 8 2 , 8 3 , Sweet Prince (Hotchner), 168 9 0 , 1 0 7 , 1 4 7 , 1 6 7 on Audrey Wood, 116 T a n d y , J e s s i c a , 3 6 , 3 7 , 4 3 S t e w a r d , J a m e s , 1 5 T a y l o r , E l i z a b e t h , 4 9 S t o c k c o m p a n i e s , 2 T a y l o r , J a m e s , 1 5 3 S t o h l , P h y l l i s , 6 7 , 7 0 – 7 1 , 8 6 Taylor, Laurette, 1 death of, 70–71 Tea and Sympathy ( A n d e r s o n ) , 6 7, a s M C A a g e n t , 6 7 6 8 – 6 9 , 7 0 , 7 5, 7 9 , 9 2 S t o l o ff , Frances, 173 c a s t o f , 6 8 S t o r e y , D a v i d , 2 , 1 3 1 – 3 3 , 1 4 3 , 1 4 6 , fi l m o f , 70 1 6 4 , 1 6 6 , 1 7 1 r e v i e w s o f 6 9 o n A u d r e y W o o d , 1 3 3 , 1 7 1 T e r k e l , S t u d s , 2 , 1 5 1 – 5 5, 1 6 4 background of, 131 and blacklisting, 151 p l a y s o f , 1 3 1 – 3 3 description of Audrey Wood, 152 , t h e m e s o f , 1 3 1 – 3 2 1 5 4 , 1 5 5 Stratford (Ontario) Festival Th eatre interview with Audrey Wood, (Canada), 131 1 5 4 – 5 5 Streetcar Named Desire, A and “Stud’s Place” (NBC ( W i l l i a m s ) , 3 5 , 3 6 , 4 1 , 4 2 , t e l e v i s i o n ) , 1 5 1 4 3 , 4 4 , 4 5 , 4 6, 5 3, 6 9 , and WFMT radio (Chicago), 151 9 2 , 1 6 2 and WGN radio (Chicago), 151 a w a r d s f o r , 4 3 o n Working , 1 5 2 – 5 4 t i t l e s f o r , 4 1 Texas Trilogy, A ( J o n e s ) , 1 4 3 – 5 1 S t r e g e r , P a u l , 1 5 c a s t o f , 1 4 8 , 1 5 0 S t r i p l i n g , R o b e r t E . , 5 9 reviews of, 148 S t r i t c h , E l a i n e , 9 0 screenplay of, 149 Studio M. Playhouse (Coral Gables, t e l e v i s i o n v e r s i o n , 1 5 0 F L ) , 4 8 Th acher, Molly Day (Kazan), 160 “Studs’ Place,” (Terkel), 150 Th eatre ’47 (Dallas, TX), 85 218 Index

Th e a t r e G u i l d , 1 6 1– 7 , 3 7 , 3 8 , 3 9 , 4 0, V a l e n c y , M a u r i c e , 2 , 4 5 , 7 6 – 8 3 , 8 8 , 4 3 , 5 6 , 5 7 , 6 7, 8 0, 8 6 , 8 7 , 8 8 , 8 9 , 1 0 9 , 1 4 7 1 0 2 , 1 0 3 , 1 0 5 , 1 0 6 plays of, 76–77 Th éâtre du Vieux Colombier (Paris), 83 as translator, 76–83 Th o m a s , J . P a r n e l l , 5 9 Van Fleet, Jo, 120 Th o m p s o n , J u l i a n E . , 3 5 , 36 Variety ( p u b l i c a t i o n ) , 1 6 2 , 1 6 6 Th omson, Virgin, 79 V a u d e v i l l e , 2 , 8 , 1 4 , 1 0 3 , 1 3 2 Th ree Men on a Horse ( p l a y ) , 8 6 Visit, Th e ( D ü e r r e n m a t t - V a l e n c y ) , 7 4 , Time Remembered ( A n o u i l h ) , 1 1 1 7 6 , 7 9 – 8 3 To Grandmother’s House We Go d e d i c a t i o n t o , 8 2 ( G l a s s ) , 1 6 7 early title of, 79 , 80 , 81–83 reviews of, 167 fi l m o f , 76 T o n y A w a r d s . See Antoinette Perry r e v i e w s o f , 8 2 (“Tony”) Awards Vivian Beaumont Th eatre Touch and Go ( m u s i c a l r e v u e ) , 6 3 , 6 4 (Lincoln Center, NYC), 135 Traffi c, Th e ( p l a y ) , 9 Translations ( F r i e l ) , 1 3 9 – 4 0 , 1 6 9 W a l l a c e , G e n e r a l L e w , 1 2 reviews of, 139 W a l l a c h , E l i , 4 5 , 1 3 4 T r e a d w e l l , S o p h i e , 9 9 Wallis, Hal B., 88 Tribute ( p l a y ) , 1 3 4 Walnut Street Th eatre T r i l o g y , 1 4 3 , 1 4 4, 1 4 6 (Philadelphia), 108 Trinity Square Repertory W a r d , S i m o n , 1 3 7 , 1 3 8 (Providence, RI), 168 W a r n e r B r o t h e r s ( H o l l y w o o d ) , 4 3 , Tucker, Sophie, 8 4 4 , 9 3 Fox Warrior’s Husband, Th e ( p l a y ) , 3 5 , 3 6 ( H o l l y w o o d ) , 9 4 Washburne, Mona, 132 27 Wagons Full of Cotton Washington Irving High School ( W i l l i a m s ) , 3 7 ( N Y C ) . 9 Two-Character Play, Th e (Williams), W a t e r s , E t h e l , 1 7 – 1 8 , 1 0 3 – 0 4 , 1 0 6 , 1 3 3 , 1 5 7 , 1 5 9 , 1 6 1 , 1 6 2 – 6 3 1 0 7 , 1 0 9 , 1 1 3 London reviews of, 162 Waters of the Moon ( p l a y ) , 1 6 7 T w o R i v e r E n t e r p r i s e s , 4 9 W a t k i n s , A n n , 1 0 4 , 1 0 5 , 1 0 6 Two Serious Ladies (Bowles), 109 W a y n e , D a v i d , 5 4 W e b b , A l a n , 7 4 Uncle Tom’s Cabin (George L. Weber and Fields, 7 Akins), 9 We Bombed in New Haven United Artists (Hollywood), 101 ( p l a y ) , 1 3 4 – 3 5 University of Arizona (Tucson), 161 W e b s t e r , M a r g a r e t , 2 , 3 8 , 3 9 University of Michigan W e i g e l , H e l e n e , 5 8 (Ann Arbor), 152 Weill, Kurt, 152 University of Texas (Austin), 161 W e l l e s , O r s o n , 5 6 , 5 7 US House Committee on W e r s b a , B a r b a r a , 1 6 6 Un-American Activities (HUAC), Wesleyan University (CT), 160 , 5 4 – 5 5 , 5 7 – 6 0 , 6 4, 6 5 1 6 1 , 1 7 1 Index 219

Westport Country Playhouse W o l ff , R u t h , 1 3 9 , 1 6 0 , 1 6 4 , 16, ( C T ) , 8 6 , 8 7 1 6 8 , 1 7 1 Westside Story ( m u s i c a l ) , 1 1 8 , 1 2 0 on Audrey Wood, 168 , 171 fi l m o f , 1 1 9 –20 W o o d , A u d r e y Whales of August, Th e ( B e r r y ) , 1 6 8 , 1 7 1 and Robert Anderson, 67–76 W h a r t o n , J o h n F . , 6 8 a s a r t i s t - i n - r e s i d e n c e , 1 6 0 Where’s Daddy? ( I n g e ) , 9 4 , 9 6, 9 7 , 1 5 7 awards, 161 r e v i e w s o f , 9 7 o n b e i n g a n a g e n t , 3, 1 1 , 1 2 , 1 3 , 5 3 , W h i t e , G e o r g e C . , 1 6 0, 1 6 1 , 1 7 1 8 5 , 9 0 , 9 5 , 9 7 , 9 9 , 1 0 1 , 1 2 6 , 1 3 3 , on Audrey Wood, 171 1 3 6 , 1 3 9 , 1 5 7 , 1 6 4 , 1 6 6 , 1 7 1 – 7 2 W h i t e h e a d , R o b e r t , 4 4 , 8 1 , 9 0 , 1 0 7 , 1 4 7 birth of, 2 , 7 W h o r f , R i c h a r d , 7 8 and Jane Bowles, 109–10 W i l b u r Th eatre (Boston), 38 breakup with Tennessee Wilde, Brandon de, 104 , 108 , 113 W i l l i a m s , 1 6 3 – 6 4 Wilder, Th ornton, 144 in Carrolton Nursing Home W i l k , M a x , 1 , 1 0 0 , 1 6 8 – 6 9 (Fairfi e l d , C T ) , 1 6 9 – 7 0 Williams, Bert, 8 o n c r e a t i v e p e o p l e , 9 4 Williams, Rose, 44 , 104 d e a t h o f , 1 6 9 – 7 0 W i l l i a m s , T e n n e s s e e , 1 , 2 , 3 5 – 5 1 , d e s c r i p t i o n o f , 1 0 , 1 0 0, 1 3 3 , 1 6 6 , 5 3 , 6 6 , 7 3 , 7 5 , 7 6, 8 0 , 8 5 , 8 8 , 1 7 0 , 1 7 1 9 2 , 9 5 , 1 0 1 , 1 0 4 – 0 6, 1 0 9 , 1 1 1 , a s d r a m a t u r g , 9 1 – 9 2 1 1 2 , 1 2 9 , 1 3 3 , 1 4 7 , 1 4 9 , 1 5 7 – 6 4 , e a r l y c a r e e r , 2 , 1 0 , 1 1 – 2 0 1 7 0 – 7 1 e d u c a t i o n o f , 8 , 9 – 1 0 o n A u d r e y W o o d , 1 0 , 4 0 , 1 0 0 , 1 6 4 employed by Century Play as client of AFA and ICM, 157–64 C o m p a n y , 1 1 – 1 5 as client of Liebling-Wood Agency, Eugene O’Neill Th eatre and 30–51 Memorial Foundation d e d i c a t i o n o f p l a y s , 4 7 ( W a t e r f o r d , C T ) , 1 6 0 – 6 1 d e s c r i p t i o n o f , 1 , 3 0 family background and early years, fi r s t B r o a d w a y s u c c e s s , 4 , 4 0–41 2 – 1 0 fi rst meeting with Audrey Wood, 30 a n d B r i a n F r i e l , 1 2 9 – 3 1 , 1 3 3 – 3 6 , relationship with Audrey Wood, 1 3 9 – 4 6 2 8 – 2 9, 3 1 , 3 6 , 4 0 , 4 1, 4 7 , 5 1 , o n g e n d e r i s s u e s , 9 9 – 1 0 1 1 5 7 – 5 8 a s g u a r d i a n a g e n t , 9 7 o n W i l l i a m I n g e , 8 9 , 9 3 h e a l t h i s s u e s , 1 1 0 – 1 1, 1 3 9 , 1 6 9 W i l s o n , D o o l e y , 1 8 i l l u s t r a t i o n s o f , 5, 3 3 , 1 4 1, 1 7 3 W i l s o n , F r a n k , 1 2 and William Inge, 85–98 W i n d h a m , D o n a l d , 3 6 , 3 7 a n d P r e s t o n J o n e s , 1 4 3 – 5 1 Wings ( K o p i t ) , 1 2 9 , 1 3 7 a n d A r t h u r K o p i t , 1 1 5 – 1 8 , 1 2 0 – 2 8 Winslow Boy, Th e ( R a t t i g a n ) , 5 6 marriage to William Liebling, W i n t e r s , S h e l l e y , 5 0 26–27 Winterset (M. Anderson), 103 a t M C A , 4 9 – 5 0 Wish You Were Here ( m u s i c a l ) , 8 9 a n d C a r s o n M c C u l l e r s , 1 0 4 – 1 3 Wizard of Oz ( fi l m ) , 5 4 , 62 o n A Meeting by the River , 137 220 Index

Wood, Audrey—Continued father of, 7 m e m o r i a l s e r v i c e f o r , 1 7 0 – 7 1 a s t h e a t e r m a n a g e r , 7 – 8 , 9 obituaries and tributes, 170–71 W o o l l c o t t , A l e x a n d e r , 9 , 1 0 , 1 4 7 parents of, 2 , 7–8 Working ( m u s i c a l ) , 1 5 2 – 5 4 o n p l a y w r i t i n g , 1 2 9 , 1 5 7 producers of, 153 p o l i t i c s o f , 6 6 reviews of, 154 o n p r o d u c e r s , 1 4 5 – 4 6 subject of, 153 and Jerome Robbins, 121 Working: People Talk About What Th ey on satire, 122 Do All Day—And How Th ey Feel scholarship named for, 170 About What Th ey Do ( T e r k e l ) , 1 5 1 and David Storey, 131–33 W r i g h t , T e r e s a , 7 2 , 9 2 as surrogate mother, 96–97 and Tennessee Williams, 157–64 Yale Repertory Th eatre on Tennessee Williams, 36 , (New Haven, CT), 125 1 6 2 – 6 4 Yale University Drama School and , 151–55 ( N e w H a v e n , C T ) , 1 3 , 1 5 , 1 7 0 theater dedicated to, 170 You Can’t Take It With You and Maurice Valency, 76–83 ( K a u f m a n a n d H a r t ) , 1 8 Westport residence (CT), 43 You Know I Can’t Hear You When the on writing her memoir, 164 , 168 Water’s Running ( A n d e r s o n ) , 6 7 , See also Liebling-Wood Agency 7 3 , 7 4 W o o d , I d a M a y G a u b a t z , 7 , 1 7 , 2 6 c a s t o f , 7 3 d e a t h o f , 2 7 You Touched Me! (Williams and mother of, 7 W y n d h a m ) , 3 6 , 3 7 , 4 2 W o o d , W i l l i a m H . , 2 , 7 , 9 , 1 1 d e a t h o f , 1 0 Z i n n e m a n n , F r e d , 1 0 9