Playbill is a monthly U. S. magazine for theatregoers. Although there is a subscription issue available for home delivery, most copies of Playbill are printed for particular productions and distributed at the door as the show's program. Playbill was first printed in 1884 for a single theatre on 21st Street in New York City; the magazine is now used at nearly every Broadway theatre, as well as many Off-Broadway productions. Outside New York City, Playbill is used at theatres throughout the United States. Circulation as of September 2012 was 4,073,680; the Playbill, as it was called until 1957, was billed as "The Magazine of the Theatre" and was published by an entity known as the New York Theatre Program Corporation. Each issue features articles focusing on actors, new plays and special attractions; this "wraparound" section is the same for all Playbills at all venues each month. Within this wraparound, the Playbill contains listings and biographies of the cast, it lists the number of intermissions and "At This Theatre", a column with historical information on the theatre housing the production.
The Playbill distributed on opening night of a Broadway show is stamped with a seal on the cover and the date appears on the title page within the magazine. In lieu of the cast and show information, the subscription edition of Playbill contains listings of Broadway and Off-Broadway productions and news from London productions and North American touring companies; the Playbill banner is yellow with black writing. Each June since 2014, the yellow banner has been replaced with a rainbow banner for LGBT Pride Month; the Playbill banner has changed the yellow to another color on rare occasions in its history: October 2008 – green for the fifth anniversary of Wicked October 2011 – royal blue for the tenth anniversary of Mamma Mia! October 2013 – green for the tenth anniversary of Wicked April 2018 - white and red for the 5th anniversary of Kinky Boots Playbill launched Playbill Online in January 1994; the free website offers news about the theatre industry, focusing on New York shows but including regional theatre and international stage happenings.
It is read by show fans and theatre practitioners, is updated regularly. It offers discounts on tickets and dining for its members. In 2000, Playbill added www.playbillstore.com, an online shopping store offering official Playbill merchandise and merchandise from most current Broadway and touring productions. In 2006, Playbill released its first records on Playbill Records, an imprint of SonyBMG. Releases included Brian Stokes Mitchell's eponymous solo album and two compilations of show tunes entitled Scene Stealers, The Men and Scene Stealers, The Women. Playbill Radio, a 24-hour Broadway-themed internet radio station featuring news, a musical library of over 20,000 titles, premiered in 2007. In 2011, Playbill launched a comprehensive online database of Broadway history. Playbill Vault provides records of Broadway productions from 1930 to the present. Information on the website includes original and current casts, actor head shots, production credits, Playbill cover images, scanned Playbill Who's Who pages, production photos, videos.
Playbill launched its first app, called Playbill Passport, on January 4, 2016. For decades, Playbill concentrated on Broadway and Off-Broadway theaters, while Stagebill focused on concerts and dance in venues such as Lincoln Center and Carnegie Hall. However, by the late 1990s, Playbill was profitable. To increase revenue, Stagebill entered Playbill's turf; the truce was first breached in 1995, when The Public Theater defected to Stagebill, more noisily in 1997, when Disney contracted Stagebill for its musical The Lion King at its newly reopened New Amsterdam Theatre. The main point of contention in the latter case was control over advertising content: Playbill is distributed free to theaters, relying on advertising revenue, under its authority, per company policy, Disney required a program without cigarette or liquor ads. In response to Stagebill's upstart incursion, Playbill began to produce Showbill, a sister publication that conformed to Disney's advertising requirements for all publications distributed in its properties.
Now with an alternative, Disney switched from Stagebill to Showbill for The Lion King late in its run at the New Amsterdam. The Ford Center for the Performing Arts commissioned Showbill for its inaugural production of Ragtime to exclude other automakers' ads. In a different circumstance, the producers of the Broadway revival of Cabaret wished to maintain the atmosphere of a sleazy nightclub at its Studio 54 venue, insisted on handing out Playbills after the performance. Playbill, sensing missed exposure for its advertisers, offered the show's producers "Showbill" instead. Additionally, Playbill responded further by producing publications for classic arts venues, aggressively courting many venues that were once Stagebill clients. In the spring of 2002, Playbill signed a contract with Carnegie Hall. With the acquisition of the programs for performing arts venues, Playbill broke from its typical format and began publishing customized
The Actors Studio is a membership organization for professional actors, theatre directors and playwrights at 432 West 44th Street between Ninth and Tenth Avenues in the Hell's Kitchen neighborhood of Manhattan in New York City. It was founded October 5, 1947, by Elia Kazan, Cheryl Crawford and Robert Lewis, who provided training for actors who were members. Lee Strasberg joined and took the helm in 1951 until his death on February 17, 1982; the Studio is best known for its work teaching method acting. The approach was developed by the Group Theatre in the 1930s based on the innovations of Konstantin Stanislavski. While at the Studio, actors work together to develop their skills in a private environment where they can take risks as performers without the pressure of commercial roles; as of May 2018, the studio's co-presidents are Alec Baldwin and Al Pacino. The Artistic Director in New York, is Beau Gravitte, the Associate Artistic Director in New York is Estelle Parsons. After an initial meeting held on October 5, 1947, at the Labor Stage, located at 106 W. 39th Street, in which goals and ground rules of the new organization were discussed, the studio opened for business the following day at the Union Methodist Episcopal Church, located at 229 West 48th Street home to the Actors Kitchen and Lounge, long a source of rental rehearsal space for local theatrical producers.
Before settling in its current location in 1955, the Studio moved over an eight-year period: In January 1948, it was a dance studio on East 59th Street. In April of that year, a move to the CBS Building at 1697 Broadway, near 53rd Street, established some semblance of stability. From that point, the old Theatre Guild rehearsal rooms on the top floor of the ANTA Theatre became home, as they would remain until October 1954, at which point theatre renovations reduced the Studio to renting space twice a week; this it did at the Malin Studios at 1545 Broadway, room 610. This arrangement would persist throughout the 1954–1955 theatrical season as the Studio was acquiring and renovating its current venue. In 1955 it moved to its current location in the former West Forty-fourth Street United Presbyterian Church, a Greek Revival structure, built for the Seventh Associate Presbyterian Church in 1858 or 1859, it was one of the last churches to be built in that style in New York City. From September 1994 through May 2005, the Studio collaborated with The New School in the education of masters-level theatre students at the Actors Studio Drama School.
After ending its contract with the New School, the Actor's Studio established The Actors Studio Drama School at Pace University in 2006. Inside the Actors Studio Notes Further reading ArticlesGerard, Jeremy "Frank Corsaro to Head Actors Studio," The New York Times Heimer, Mel, "My New York" Rochester Sentinel p. 2 Kleiner, Dick "The Actors Studio: Making Stars Out of the Unknown," Sarasota Journal p. 26 Pogrebin, Robin "Pacino and Keitel To Lead the Actors Studio," The New York Times Seligsohn, Leo "Actors Studio Needs Cash Birthday Gift," Sarasota Herald-Tribune p. 6-B Smith, Liz "Controversy Engulfs Actors Studio As Anna Strasberg Resigns," Sarasota Herald-Tribune p. 4-CBooksFrome, Shelly The Actors Studio: a History. Jefferson, North Carolina: McFarland. ISBN 0-7864-1073-6 Garfield, David A Player's Place: The Story of the Actors Studio. New York: MacMillan. ISBN 0-02-542650-8 Hirsch, Foster A Method to their Madness: The History of the Actors Studio. New York: WW Norton & Co Inc. ISBN 0-393-01783-4 Official website PBS American Masters Series profile Inside the Actors Studio The Actors Studio MFA Program at Pace University Audio collection of the Actors Studio from 1956–69 at the Wisconsin Historical Society A brief history of the Actors Studio, including Lee Strasberg on its origin and purpose.
David Garfield research files on the Actors Studio, 1947–2003, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts
Lanford Wilson was an American playwright. His work, as described by The New York Times, was "earthy, realist admired performed." Wilson helped to advance the Off-Off-Broadway theater movement with his earliest plays, which were first produced at the Caffe Cino beginning in 1964. He was one of the first playwrights to move from Off-Off-Broadway to Off-Broadway Broadway and beyond, he received the Pulitzer Prize for Drama in 1980 and was elected in 2001 to the Theater Hall of Fame. In 2004, Wilson was elected to the American Academy of Arts and Letters and received the PEN/Laura Pels International Foundation for Theater Award as a Master American Dramatist, he has won a Drama Desk Award and five Obie Awards. Wilson's 1964 short play The Madness of Lady Bright was his first major success and led to further works throughout the 1960s that expressed a variety of social and romantic themes. In 1969, he co-founded the Circle Repertory Company with theatre director Marshall W. Mason, he wrote many plays for the Circle Repertory in the 1970s.
His 1973 play The Hot l Baltimore was the company's first major success with both audiences and critics. The Off-Broadway production exceeded 1,000 performances, his play Fifth of July was first produced at Circle Repertory in 1978. He received a Tony Award nomination for its Broadway production, which opened in 1980. A prequel to Fifth of July called Talley's Folly opened on Broadway before Fifth of July and won Wilson the 1980 Pulitzer Prize for Drama and his first Tony nomination. Burn This was another Broadway success. Wilson wrote the libretti for several 20th-century operas. Wilson was born to Violetta Tate Wilson in Lebanon, Missouri. After his parents divorced when he was 5, he moved with his mother to Springfield, where they lived until she remarried; when he was 11, his mother married Walt E. Lenhard, a farmer from Ozark and they both moved in with him, he had two half-brothers and Jim, one stepsister, Judy. He developed a love for film and art; as a child, Wilson enjoyed writing short stories and going to see plays performed at Southwest Missouri State College.
A production of Brigadoon had a resounding effect on Wilson, saying that "after that town came back to life on stage, movies didn't stand a chance". He developed an interest in acting and performed in his high school plays, including the role of Tom in The Glass Menagerie by Tennessee Williams. After graduating from Ozark High School in 1955, Wilson began his collegiate studies at Southwest Missouri State College. In 1956, he moved to San Diego, he studied art and art history at San Diego State College as well as worked as a riveter at the Ryan Aircraft Plant. His reunion with his father was difficult, but the relationship improved in years, Wilson based his play Lemon Sky on their relationship. Wilson left college and moved to Chicago in 1957, where he worked as a graphic artist for an advertising firm. During this time, Wilson realized that the short stories he had always enjoyed writing would be more effective as plays, began to study playwriting at the University of Chicago extension program.
In 1962, Wilson moved to Greenwich Village in New York City. He worked in odd jobs, such as a temporary typist, a reservations clerk at Americana Hotel, at the complaint desk of a furniture store, at a dishwashing job where a co-worker incorrectly called him "Lance". After that, Wilson's friends all called him by that name. Wilson worked for the subscription office of the New York Shakespeare Festival, which gave him formative insight into the world of professional theatre. Wilson first encountered the Caffe Cino; the experience left him thinking that "theatre could be both dangerous and funny in that way at the same time". After the show, Wilson introduced himself to Cino co-founder and producer Joe Cino, a pioneer of the Off-Off-Broadway movement. Cino encouraged Wilson to submit a play to the Cino. In Cino, Wilson found a mentor who would not only critique his plays, but stage them. Wilson's first play to premiere at Cino was So Long at the Fair, in August 1963, his works for Caffe Cino include Ludlow Fair, Home Free!, The Madness of Lady Bright.
He continued working odd jobs to support himself during these early years. The Madness of Lady Bright premiered at Caffe Cino in May 1964; the play concerns "Lady" Bright, a forty-year-old "screaming preening queen". On a sultry summer day in the 1960s, while in his apartment on the Upper West Side of Manhattan, "Lady" Bright loses his mind, it is a complex and comic tragedy of striking originality, one of Wilson's most notable and finest works. At its heart, the work is a penetrating study of loneliness and isolation, it was one of off-off-Broadway's first significant successes, running for over 200 performances. The Madness of Lady Bright set a record as the longest-running play at Caffe Cino. In 1965, Wilson began writing plays for Ellen Stewart's La MaMa Experimental Theatre Club in the East Village, his first full-length plays premiered at La MaMa, including Balm in Gilead, which depicted a doomed romance in an urban greasy spoon diner inhabited by junkies and thieves. Balm in Gilead premiered at La MaMa in 1965, directed by Marshall W. Mason.
The play was revived in 1984 by Circle Repertory Company and the Steppenwolf Theatre Company, directed by John Malkovich. In 1965, Wilson wrote and directed Miss Williams for a benefit performance at La MaMa called "
In theatre, a monologue is a speech presented by a single character, most to express their mental thoughts aloud, though sometimes to directly address another character or the audience. Monologues are common across the range of dramatic media, as well as in non-dramatic media such as poetry. Monologues share much in common with several other literary devices including soliloquies and asides. There are, distinctions between each of these devices. Monologues are similar to poems and others, in that, they involve one'voice' speaking but there are differences between them. For example, a soliloquy involves a character relating his or her thoughts and feelings to him/herself and to the audience without addressing any of the other characters. A monologue is the thoughts of a person spoken out loud. Monologues are distinct from apostrophes, in which the speaker or writer addresses an imaginary person, inanimate object, or idea. Asides differ from each of these not only in length but in that asides are not heard by other characters in situations where they logically should be.
In ancient Greek theatre, the origin of western drama, the conventional three actor rule was preceded by a two-actor rule, itself preceded by a convention in which only a single actor would appear on stage, along with the chorus. The origin of the monologue as a dramatic device, therefore, is not rooted in dialogue, it is, the other way around. Ancient Roman theatre featured monologues extensively, more than either Ancient Greek theatre or modern theatre. One of the key purposes of these monologues was to indicate the passage of significant amounts of time within scenes; this type of monologue is referred to as a linking monologue. Other monologue types exit monologues. In each of these cases a primary function is indicating the passage of time. From Renaissance theatre onward, monologues focused on characters using the extended speech to pursue their dramatic need. Postmodern theatre, on the other hand embraces the performative aspects of the monologue to the point of challenging the boundary between character portrayal and autobiographical speeches.
Interior monologues involve a character externalizing their thoughts so that the audience can witness experiences that would otherwise be internal. In contrast, a dramatic monologue involves one character speaking to another character. Monologues can be divided along the lines of active and narrative monologues. In an active monologue a character is using their speech to achieve a clear goal. Narrative monologues involve a character telling a story and can be identified by the fact that they are in the past tense. Actors in theatre, sometimes in film and television, may be asked to deliver monologues in auditions. Audition monologues demonstrate an actor's ability to deliver a performance; these pieces are limited to two minutes or less and are paired with a contrasting monologue: comic and dramatic. The choice of monologues for an audition depends on the play or role. Dramatic monologue One-person show Oratory Performance poetry Rhetoric Stand-up comedy Storytelling Diseuse Spoken word To inspire people Monologue at Curlie
Marshall W. Mason
Marshall W. Mason is an American theater director and writer. Mason founded the Circle Repertory Company in New York City and was artistic director of the company for 18 years, he received an Obie Award for Sustained Achievement in 1983. In 2016, he received the Tony Award for Lifetime Achievement in the Theater. From 1983 to 1986, Mason was president of the Stage Directors and Choreographers Society, a national labor union. Mason was born in Amarillo, Texas on February 24, 1940, he graduated from Northwestern University with a bachelor's degree in theater in 1961. At the age of 19, while at Northwestern, he received his first award for directing a production of Tennessee Williams' Cat on a Hot Tin Roof. Upon graduating, he moved to Manhattan, where he began working in the off-off-Broadway theater movement in venues such as the Caffe Cino, La MaMa Experimental Theatre Club, the Judson Poets Theatre. Mason directed multiple productions at La MaMa during the 1960s; the first was Balm in Gilead, his first collaboration with playwright Lanford Wilson.
He directed Wilson's The Sand Castle or There is a Tavern in the Town or Harry Can Dance and The Girl on the BBC, both at La MaMa in 1965. He directed a second production of The Sand Castle in 1967; that same year, Mason directed a production of Donald Julian's A Coffee Ground Among the Tea Leaves at La MaMa. In 1969, he directed a production of Julian's In Praise of Folly with set design by Wilson. Since their early collaboration at La MaMa, Mason has directed over sixty productions of Lanford Wilson's plays. Playbill has identified this as the longest collaboration between a playwright and director in the history of American theater. Among these productions have been are The Hot l Baltimore, for which Mason won his first Obie Award for Distinguished Direction in 1973, he made his off-Broadway debut in 1964 with a revival of Henrik Ibsen's Little Eyolf. In the decades since, Mason has been awarded five Obie Awards for Outstanding Direction: Lanford Wilson's The Hot l Baltimore New York premiere of Tennessee Williams' Battle of Angels Lanford Wilson's The Mound Builders Jules Feiffer's Knock Knock Lanford Wilson's Serenading Louie He directed 42 productions Off-Broadway, including Edward J. Moore's The Sea Horse, Romulus Linney's Childe Byron, Lanford Wilson's Talley & Son, William Mastrosimone's Sunshine, Larry Kramer's The Destiny of Me, Lanford Wilson's Sympathetic Magic and Wilson's Book of Days.
His Broadway debut was on February 24, 1976 with a production of Jules Feiffer's Knock Knock, for which he received his first Tony Award for Best Direction of a Play nomination. He has since directed twelve productions on Broadway and has been nominated for the Tony Award five times, his additional Broadway credits include Albert Innaurato's Gemini. He has worked in regional theater, including the Mark Taper Forum in Los Angeles, the Guthrie Theater in Minneapolis, the Steppenwolf Theater in Chicago, Arena Stage and Ford's Theater in Washington, D. C. the McCarter Theater in Princeton, the Hartford Stage Company, the Pittsburgh Public Theater, the Repertory Theater of St. Louis, the Cincinnati Playhouse, the Milwaukee Rep. For the 1988 season, he was appointed guest artistic director of the Ahmanson Theater of the Los Angeles Music Center. Mason has directed three productions in London as well as Who's Afraid of Virginia Woolf? at the National Theatre of Japan in Tokyo. On television, Mason has directed William Inge’s Picnic, Lanford Wilson’s The Mound Builders and Fifth of July, Robert Patrick’s Kennedy's Children.
He has received two CableACE Award nominations for his productions on Showtime. On Broadway, Mason has been nominated for the Tony Award for Best Direction of a Play five times. Off-Broadway, he has received five Obie Awards for Outstanding Direction of a play and a sixth Obie Award for Sustained Achievement, he is the recipient of the 1979 Theatre World Award and the 1977 Margo Jones Award for his discovery and nurturing of new playwrights and actors in his work with the Circle Repertory Company. In 1999, he was recognized with a Mr. Abbott Special Millennium Award as one of the most innovative and influential directors of the twentieth century. In 2014, he was elected to the Theater Hall of Fame, he received the 2015 Artistic Achievement Award from the New York Innovative Theater Foundation. In 2016, Mason received the Special Tony Award for Lifetime Achievement in the Theatre. Mason is Professor Emeritus of Theater at Arizona State University. In 2001, he was honored with ASU’s Creative Activity Award.
He was the chief drama critic for the Phoenix New Times, a weekly newspaper, in 1994-1995, received the 1995 Phoenix Press Club Award for his writing about the performing arts. He wrote Creating Life On Stage: A Director's Approach to Working with Actors and The Transcendent Years: Circle Repertory Theater and the'60s, published as a Kindle e-book in 2016, he is a member of the College of Fellows of the American Theatre at the Kennedy Center. He lives in Manhattan. On July 25, 2011, the first Monday after New York State enacted its marriage equality law, Mason married his partner of 3
Glenne Aimee Headly was an American actress. She was known for her roles in Dirty Rotten Scoundrels, Dick Tracy, Mr. Holland's Opus. Headly received a Theatre World Award and four Joseph Jefferson Awards and was nominated for two Primetime Emmy Awards. In 2017, she starred in The Circle and Just Getting Started, the latter marking her final film role, released six months after her death, she starred with Ed Begley Jr. and Josh Hutcherson in Future Man, Hulu's half-hour comedy television series produced by Seth Rogen and Evan Goldberg. Headly was born on March 1955 in New London, Connecticut, her first years were spent living under the care of her mother, Joan Ida Headly, in San Francisco, her maternal grandmother in Lansford, Pennsylvania. Early in her elementary school years, she joined her mother, living in Greenwich Village, she studied ballet at the Robert Joffrey school of ballet and modern dance at the Martha Graham Studios. In New York, she attended public schools, including P. S. 41, where she was placed in a class for intellectually gifted children.
There, a fifth-grade teacher introduced her to the work of Jacques Cousteau in an oceanography class, inspiring a lifelong interest in preserving the natural world. She went on to the High School of Performing Arts, majoring in drama and graduating with honors. Rather than continuing to study the dramatic arts, she attended American College of Switzerland, a small college in Leysin from which she graduated with a bachelor's degree. Soon after, she moved to New York, taking day jobs as a waitress so that she could work nights in the theater for little or no salary, she moved to Chicago, where she joined the New Works Ensemble at the St. Nicholas Theatre, she was cast in a Goodman Theatre production of Curse of the Starving Class, directed by Robert Falls and co-starring John Malkovich. While appearing on the Chicago stage in Curse of the Starving Class, Headly was asked to join the Steppenwolf Theatre ensemble, looking to expand, she appeared in several other productions. In Chicago, she was nominated for five Joseph Jefferson awards, won three for best supporting actress.
She received her Actors' Equity card when cast by Vivian Matalon in a summer theatre production of Charley's Aunt, joined SAG when Arthur Penn wrote a breakout role for her in the film Four Friends. On August 2, 1982, Headly married fellow ensemble member John Malkovich. Soon after, she replaced Ellen Barkin in Extremities off-Broadway, she was cast in The Philanthropist off-Broadway, won a Theatre World Award for best newcomer. In New York, she appeared in Balm in Gilead with her fellow Steppenwolf Theatre members, in Arms and the Man, on Broadway, with Kevin Kline and Raul Julia. Headly played several supporting roles in such films as Making Mr. Right, Seize the Day and Nadine, but her role in Dirty Rotten Scoundrels, with Steve Martin and Michael Caine launched her film career. In 1988, Headly was named Most Promising New Actress by the Chicago Film Critics Association; that same year, Headly divorced Malkovich after he had an affair with Michelle Pfeiffer during the filming of Dangerous Liaisons.
In 1989, Headly played the role of Elmira Boot Johnson in the critically acclaimed TV miniseries Lonesome Dove, a part for which she received her first of two Emmy Awards nominations for best supporting actress in a television movie. Headly was cast by Warren Beatty to appear as Tess Trueheart in Dick Tracy, she next starred with Bruce Willis in Mortal Thoughts, directed by Alan Rudolph. In 1992, she worked on a small Canadian film called Ordinary Magic, on the first day of filming, met her future husband Byron McCulloch, whom she married in 1993, she co-starred with Ted Danson and Macaulay Culkin in the 1994 comedy Getting Even with Dad. Headly appeared in Mr. Holland's Opus, Sgt. Bilko, What's the Worst That Could Happen?, Breakfast of Champions, Around the Bend, 2 Days in the Valley, others. Headly appeared in the television movies Winchell, And the Band Played On, Pronto, My Own Country, Women vs. Men. Headly received her second of two Emmy Awards nominations for best supporting actress in a television movie for Bastard Out of Carolina.
She appeared as Julie Andrews and Christopher Plummer's daughter in the 2001 live telecast of the play On Golden Pond for CBS. She was cast in the series Encore! Encore!, starring Nathan Lane and Joan Plowright, from 1998–1999, had recurring roles as Dr. Abby Keaton on ER from 1996–1997 and as Leland Stottlemeyer's wife, Karen, on Monk. In 2004, she played the mother of Lindsay Lohan's character in Confessions of a Teenage Drama Queen, her recent appearances include the films The Amateurs, The Namesake, Comeback Season, Kit Kittredge: An American Girl, The Joneses, Don Jon. More Headly appeared in the film Strange Weather and in the HBO limited series The Night Of. Headly and Ed Begley Jr. were cast in lead roles with Josh Hutcherson in Future Man, Hulu's half-hour comedy television series produced by Seth Rogen and Evan Goldberg. Headly died on June 2017, during filming of the series. At the time of her death, she had filmed five episodes of the planned 13-episode season order. Producers stated that she would not be recast and that the episodes she filmed will air, leaving the writers the need to rework the episodes in which she was due to feature.
Headly was an ensemble member of the Steppenwolf Theatre Company from 1979 until 2005, although she never returned to Chicago to do a play after the late 1980s, believing that such a move would uproot and be disruptive to her family. She took
The Hot l Baltimore
The Hot l Baltimore is a play by Lanford Wilson set in the lobby of the Hotel Baltimore. The plot focuses on the residents of the decaying property, who are faced with eviction when the structure is condemned; the play draws its title from the hotel's neon marquee with a burned-out "e", never replaced. The Hot l Baltimore was produced by the Circle Repertory Company on February 4, 1973, it transferred to the off-Broadway Circle in the Square Downtown on March 22, 1973. The production closed on January 1976 after 1,166 performances, it was directed by Marshall W. Mason, the cast included Trish Hawkins, Conchata Ferrell, Judd Hirsch, Jonathan Hogan, Mari Gorman; the play won the New York Drama Critics' Circle Award for Best American Play of 1972–73, multiple Obie Awards, the John Gassner Playwriting Award, an Outer Critics Circle Award. It was produced at the Williamstown Theater Festival in Williamstown, Massachusetts, in July 2000, directed by Joe Mantello, with the cast featuring Sam Rockwell, Mandy Siegfried, Lois Smith, Helen Hanft, Becky Ann Baker.
It was produced by the Steppenwolf Theatre Company in Chicago from March through May 2011, directed by Tina Landau. In 1975, producer Norman Lear adapted the play for a half-hour ABC sitcom; the cast included Conchata Ferrell, James Cromwell, Richard Masur, Al Freeman, Jr. Gloria LeRoy, Jeannie Linero, Charlotte Rae; the sitcom had several controversial elements, including two main characters who worked as prostitutes, one of whom was an illegal immigrant, one of the first gay couples to be depicted on an American television series. The network supported the show and gave it a full publicity campaign, but the series failed to win an audience and was canceled after 13 episodes. In 1976, a version of the series with the title Hôtel Baltimore was produced for French television; the series, which featured Dora Doll, lasted for a single season. Mel Gussow, in his review of the 1973 production for The New York Times, wrote that Wilson "writes with understanding and sensitivity about unwanted people...
There are moments in this play... when Wilson - with his passion for idiosyncratic characters, atmospheric details and invented homilies - reminds me of William Saroyan and Thornton Wilder... The play seems to meander... There is little plot or action but there is emotion." 1973: Drama Critics Circle Award for Best American Play 1973: Obie Award for Best American Play The Hot l Baltimore at the Internet Off-Broadway Database The Hot l Baltimore at ThatTheatreSite.com