Man and Superman
Man and Superman is a four-act drama written by George Bernard Shaw in 1903. The series was written in response to a call for Shaw to write a play based on the Don Juan theme. Man and Superman opened at the Royal Court Theatre in London on 23 May 1905, but it omitted the third act. A part of the act, Don Juan in Hell, was performed when the drama was staged on 4 June 1907 at the Royal Court; the play was not performed in its entirety until 1915, when the Travelling Repertory Company played it at the Lyceum Theatre, Edinburgh. Mr. Whitefield has died, his will indicates that his daughter Ann should be left in the care of two men, Roebuck Ramsden and John Tanner. Ramsden, a venerable old man, distrusts John Tanner, an eloquent youth with revolutionary ideas, whom Shaw's stage directions describe as "prodigiously fluent of speech, excitable a little mad". In spite of what Ramsden says, Ann accepts Tanner as her guardian, though Tanner doesn't want the position at all, she challenges Tanner's revolutionary beliefs with her own ideas.
Despite Tanner's professed dedication to anarchy, he is unable to disarm Ann's charm, she persuades him to marry her, choosing him over her more persistent suitor, a young man, Tanner's friend, named Octavius Robinson. Hector Malone, Sr. an elderly gentleman who has worked hard throughout his life to attain a high social status in which he now takes pride. Ann Whitefield, a young woman, somewhat enigmatic, she corresponds to the character Doña Ana in the Don Juan myth. Henry Straker, chauffeur with a cockney accent. John Tanner called "Jack Tanner," a well-educated, well-spoken man who takes everything including himself; the descendant of Don Juan, as well as the modern representation of the Don Juan character. The name "John Tanner" is an anglicisation of the Spanish name "Juan Tenorio,", the full name of Don Juan. Violet Robinson, sister of Octavius Robinson, she has been secretly married to Jr.. Mrs. Whitefield, mother of Ann, widow of the late Mr. Whitefield. Susan Ramsden, the spinster sister of Roebuck Ramsden.
Hector Malone, Jr. an American gentleman, secretly married to Violet Robinson. Octavius Robinson, an amiable young man, in love with Ann Whitefield. Brother to Violet Robinson, he represents "Don Ottavio" from the Don Juan myth. Roebuck Ramsden, an aging civil reformer, friend to the late Mr. Whitefield, he corresponds to the statue in the Don Juan myth, in turn the representation of the spirit of Don Gonzalo, the father of Doña Ana. Mendoza, an anarchist who collaborates with Tanner. Mendoza is the "President of the League of the Sierra," a Jew, he corresponds to Shaw's conception of the Devil. The long third act of the play, which shows Don Juan himself having a conversation with several characters in Hell, is cut. Charles A. Berst observes of Act III: Paradoxically, the act is both extraneous and central to the drama which surrounds it, it can be dispensed with, is, on grounds that it is just too long to include in an full-length play. More it is in some aspects a digression, operates in a different mode from the rest of the material, delays the immediate well-made story line, much of its subject matter is implicit in the rest of the play.
The play performs well without it. Don Juan in Hell consists of a philosophical debate between Don Juan, the Devil, with Doña Ana and the Statue of Don Gonzalo, Ana's father looking on; this third act is performed separately as a play in its own right, most famously during the 1950s in a concert version, featuring Charles Boyer as Don Juan, Charles Laughton as the Devil, Cedric Hardwicke as the Commander and Agnes Moorehead as Doña Ana. This version was released as a spoken word album on LP, but is yet to appear on CD. In 1974–1975, Kurt Kasznar, Myrna Loy, Edward Mulhare and Ricardo Montalban toured nationwide in John Houseman's reprise of the production, playing 158 cities in six months. Although Man and Superman can be performed as a light comedy of manners, Shaw intended the drama to be something much deeper, as suggested by the title, which comes from Friedrich Nietzsche's philosophical ideas about the "Übermensch"; as Shaw notes in his "Epistle Dedicatory" he wrote the play as "a pretext for a propaganda of our own views of life".
The plot centres on John Tanner
Talley's Folly is a 1980 play by American playwright Lanford Wilson. The play is the second in The Talley Trilogy, between Fifth of July. Set in an boathouse near rural Lebanon, Missouri in 1944, it is a romantic comedy following the characters Matt Friedman and Sally Talley as they settle their feelings for each other. Wilson received the 1980 Pulitzer Prize for Drama for the work; the play is unlike Wilson's other works, taking place in one act with no intermission, set in ninety-seven minutes of real time, with no set change. Talley's Folly depicts one night in the lives of two unlikely sweethearts, Matt Friedman and Sally Talley; the one-act play takes place in a boathouse on the Talley farm in Missouri on the Fourth of July, 1944. The play opens with Matt directly addressing the audience, telling them that the play will take ninety-seven minutes and he hopes to relay his story properly in that time. Taking the time to point out some staging elements, he tells the audience that the gazebo-like structure next to him is a Victorian boathouse, which has fallen into disrepair.
While on vacation in Lebanon, Missouri the previous summer, Matt met Sally and has sent her a letter every day since. Though the single reply from Sally gave him no hope for romantic encouragement, he has returned to ask her to marry him. Sally arrives at the boathouse and is in disbelief that Matt has shown up uninvited though he had written her that he planned to come for the holiday. Matt's arrival has created a stir in Sally's conservative Protestant household, where a Jewish man is not welcomed when his intentions are to court their daughter, eleven years younger than he. Matt's interest in Sally had never waned, he once drove from his home in St. Louis to the hospital where she worked and waited hours for her after being informed that she was not available; the conversation turns to the boathouse structure. Sally tells him it was constructed by her uncle, her uncle did only what he wanted to do, Sally considers him the healthiest member of the family for his courage. The couple begins to reminisce about the night they met and the time they spent together the previous summer.
Matt takes it as a positive sign that she has changed into a nice dress before coming to see him tonight. Sally's protests do not match her behavior and he pushes forward, she is the most intriguing woman he has met, he is determined to make her his wife. Admitting that he has called Sally's aunt every two weeks during the past year, Matt reveals that he knows Sally was fired from a Sunday school teaching job, she had been encouraging the students to read Thortstein Veblen's The Theory of the Leisure Class in addition to the Methodist reader. The rise of labor unions was affecting the families of the children in her class and she felt obligated to help educate them, her unorthodox methods earned her the consternation of the church elders as well as her own family, who own the garment factory on which the labor issue centered. Sally tries to glean some information about Matt's background, a subject about which he is guarded, he admits to Sally that he was born in Kaunas, Lithuania. His father had been an engineer.
In 1911, his father was overheard in a French cafe discussing his work with nitrogen, a reference to the Haber process developed in 1909 by a Jewish-German chemist, Fritz Haber, to extract nitrogen from the air, which made the manufacture of gunpowder and fertilizer inexpensive. The family was detained as they were attempting to cross the border. Matt's father and older sister were tortured until the French realized that the father had no information of any value to them. In the meantime, the sister had fallen into a coma, they went to the German authorities and were again detained. Matt escaped to America through the help of some relatives. Haunted by his childhood grief, Matt vowed never to bring another child into the world, he was content with his life. He now feels forever hopeful for the first time in his life. Having risked the vulnerability of revealing his background, Matt presses Sally to share why she, a beautiful 31-year-old woman, has never married, she diverts the conversation to economics.
Sally reveals her disappointment in love many years ago, which makes her reluctant to fall in love again. Her family had partnered her with Harley Campbell, whose family was wealthy; the match was made in heaven for the business interests of the two families. Sally had been a cheerleader and Harley had been a basketball star; the families' fortunes waned during the Depression. In addition, Sally was sequestered for a long time. A pelvic infection left her barren, Harley's family no longer condoned their marriage. Matt comments on the irony of their situation, that he'd been lamenting over the fact that he was in love with a woman but could never have children and now this woman presents him with the same situation, he believes. Sally agrees to marry him and move to St. Louis, they vow to return to the boathouse every year so they don't forget where they fell in love. Talley's Folly was first performed Off-Broadway by the Circle Repertory Company on May 1, 1979, closing on June 3, 1979. Directed by Marshall W. Mason, the cast starred Judd Hirsch as Matt Friedman and Trish Hawkins as Sally Talley.
The set was designed by John Lee Beatty, with costumes by Jennifer von Mayrhauser, lighting by Dennis Parichy, sound design by Chuck London. The production transferred to the Mark Taper Forum in Los Angeles; the play debuted on Broadway at the Brooks Atkinson
The Dybbuk, or Between Two Worlds is a play by S. Ansky, authored between 1913 and 1916, it was written in Russian and translated into Yiddish by Ansky himself. The Dybbuk had its world premiere in that language, performed by the Vilna Troupe at Warsaw in 1920. A Hebrew version was prepared by Hayim Nahman Bialik and staged in Moscow at Habima Theater in 1922; the play, which depicts the possession of a young woman by the malicious spirit – known as Dybbuk in Jewish folklore – of her dead beloved, became a canonical work of both Hebrew and Yiddish theatre, being further translated and performed around the world. Leah, daughter of Sender, a maiden who had come of age and yet her father rejects her suitors Khanan, a poor Yeshiva student enamored with Leah, rumored to practice forbidden Kabbalah Sender, son of Henya, a rich merchant who resides in Brinitz, Leah's father; the Messenger, a sinister, unnamed traveler. Rabbi Azriel, son of Hadasa, a venerable hasidic Tzadik who resides in nearby Miropol, reputed to be a miracle-worker Nisan, son of Karina, a scholar who knew Azriel Rabbi Samson, Mara d'atra of Miropol.
Michael, Azriel's servant Meyer, beadle in the Brinitz synagogue Gittel and Besya, Leah's friends Frieda, her old nurse Menashe, Leah's new betrothed Nakhman, his father Asher and Hanoch, Yeshiva students and friends of Khanan The two Dayannim, the religious judges presiding alongside Samson Three idlers, who waste their time in the study hall Azriel's hasidim, poor folk, crowd The play is set in the Jewish town of Brinitz near Miropol, Volhynia, in the Pale of Settlement. No date is mentioned, but it takes place after the death of David of Talne, said to be "of blessed memory", in 1882. Three idlers lounge in the synagogue, telling stories of the famed hasidic Tzadikim and their mastery of Kabbalah powers, they are accompanied by the Messenger, a sinister stranger who demonstrates uncanny knowledge of the subject. Khanan, a dreamy, emaciated student, joins them. Upon seeing him, the three gossip of his reputed dealing with the secret lore, they discuss Leah, the daughter of rich Sender, whose suitors are faced with new demands from her father until they despair.
Khanan, in love with her, rejoices when one of the idlers tells another proposed match came to nothing. Sender himself enters, announcing that he wavered but closed the deal; the townspeople flock to congratulate him. Khanan is shocked, mumbling all his labors were in vain, but something dawns on him and he is ecstatic, he falls to the floor. The townspeople are busy with Sender, but notice Khanan and try to awake him, they discover he is dead, that he clasped the Book of Raziel. Several months Leah's wedding day has arrived; as decreed by custom, a humble feast is held for the poor folk prior to the ceremony, the maiden dances with the beggars. She and her nurse discuss the fate of the souls of those who died prematurely, mentioning Khanan whom Leah says came to her in a dream, they visit the holy grave in the center of Brinitz, the resting place of a bride and a groom who were killed under their wedding canopy when the "Evil Chmiel" raided the area in 1648. She ceremoniously invites the souls of her mother and grandparents to her celebration.
Menashe, her betrothed, arrives with his father. At the ceremony, he approaches to remove Leah's veil, she shoves him back. The Messenger, standing nearby, announces. In the home of the Tzadik Azriel of Miropol, the servant enters to announce that Sender's possessed daughter has arrived. Azriel confides to his assistant that he is old and weak, but the latter encourages him with tales of his father and grandfather, both renowned miracle-workers, he calls demands from the spirit to leave her body. The Dybbuk refuses. Azriel recognizes him as Khanan, summons the rabbincal court to place an anathema upon him. Rabbi Samson arrives and tells the spirit of Nisan, a scholar who died and knew the Tzadik, came to him in a dream, he told that Khanan is his son and he sues Sender before the court, on the charge he is responsible for his death. The rabbis determine to hold the litigation on the day after, exorcise the spirit only upon discovering the truth. Nisan's soul arrives at the court and communicates via Rabbi Samson.
He tells the assembled that he and Sender were old friends, swore that if one would father a son and the other a daughter, they will be married to each other. Nisan died prematurely, but his son Khanan arrived at Brinitz and his heart went after Leah, as was destined, he claims that Sender did not want to have his daughter marry a poor man. Sender confides that he felt a strange urge to reject all suitors and take Khanan, but he managed to resist it. Nisan pleads on, stating his desperate son turned to the Other Side and died, leaving him with none to say Kaddish after him; the court absolves Sender, stating that one cannot promise an object not yet created under the laws of the Torah, but fine him and oblige him to say Kaddish for Nisan and Khanan for all his life. Azriel commands the spirit to exit Leah's body; the holy man conducts a dramatic exorcism, summoning various mystical entities and using ram horns' blasts and black candles. The Dybbuk is forced out. Menashe is invited, a wedding is prepared.
When Leah lies alone, she senses Khanan's spirit and confides she loved him since seeing him for the first time. Mourning her never-to-be children, she walks towards him; the two are united in death. Between 1912 and 1913, S
Sir Alan Ayckbourn, is a prolific British playwright and director. He has written and produced more than seventy full-length plays in Scarborough and London and was, between 1972 and 2009, the artistic director of the Stephen Joseph Theatre in Scarborough, where all but four of his plays have received their first performance. More than 40 have subsequently been produced in the West End, at the Royal National Theatre or by the Royal Shakespeare Company since his first hit Relatively Speaking opened at the Duke of York's Theatre in 1969. Major successes include Absurd Person Singular, The Norman Conquests trilogy, Bedroom Farce, Just Between Ourselves, A Chorus of Disapproval, Woman in Mind, A Small Family Business, Man Of The Moment, House & Garden and Private Fears in Public Places, his plays have won numerous awards, including seven London Evening Standard Awards. They have been translated into over 35 languages and are performed on stage and television throughout the world. Ten of his plays have been staged on Broadway, attracting two Tony nominations, one Tony award.
Ayckbourn was born in London. His mother Irene Worley was a writer of short stories who published under the name "Mary James", his father, Horace Ayckbourn, was an orchestral violinist, at one time deputy leader of the London Symphony Orchestra. His parents, who separated shortly after World War II, never married, Ayckbourn's mother divorced her first husband to marry again in 1948. Ayckbourn wrote his first play at Wisborough Lodge when he was about 10. Whilst at prep school as a boarder, his mother wrote to tell him she was marrying Cecil Pye, a bank manager; when he went home for the holidays, his new family consisted of his mother, his stepfather and Christopher, his stepfather's son by an earlier marriage. This relationship too ran into difficulties early on. Ayckbourn attended Haileybury and Imperial Service College, in the village of Hertford Heath, whilst there toured Europe and America with the school's Shakespeare company. After leaving school at 17, Ayckbourn's career took several temporary jobs in various places before starting a temporary job at the Scarborough Library Theatre, where he was introduced to the artistic director, Stephen Joseph.
It is said that Joseph became both a mentor and father figure for Ayckbourn until his untimely death in 1967, he has spoken of him. Ayckbourn's career was interrupted when he was called for National Service, he was swiftly discharged on medical grounds, but it is suggested that a doctor who noticed his reluctance to join the Armed Forces deliberately failed the medical as a favour. Although Ayckbourn continued to move where his career took him, he settled in Scarborough buying Longwestgate House, the house owned by Stephen Joseph. In 1957, Ayckbourn married Christine Roland, another member of the Library Theatre company, indeed Ayckbourn's first two plays were written jointly with her under the pseudonym of "Roland Allen", they had two sons and Philip. However, the marriage had difficulties which led to their separation in 1971. Ayckbourn said that his relationship with Roland became easy once they agreed their marriage was over. Around this time, he started to share a home with Heather Stoney, an actress he had first met ten years earlier.
Like his mother, neither he nor Roland sought a divorce for the next thirty years and it was only in 1997 that they formally divorced. One side-effect of the timing is that, as Ayckbourn was awarded a knighthood a few months before the divorce, both his first and second wife were entitled to take the title of Lady Ayckbourn. In February 2006, he suffered a stroke in Scarborough, stated: "I hope to be back on my feet, or should I say my left leg, as soon as possible, but I know it is going to take some time. In the meantime I am in excellent hands and so is the Stephen Joseph Theatre." He left hospital after eight weeks and returned to directing after six months, but the following year he announced he would step down as artistic director of the Stephen Joseph Theatre. Ayckbourn, continues to write and direct his own work at the theatre. Since Ayckbourn's plays started becoming established in the West End, interviewers have raised the question of whether his work is autobiographical. There is no clear answer to this question.
There has only been one biography, written by Paul Allen, this covers his career in the theatre. Ayckbourn has said he sees aspects of himself in all his characters. For example, in Bedroom Farce, he admitted to being, in some respects, all four of the men in the play, it has been suggested that, after Ayckbourn himself, the person, used the most in his plays is his mother as Susan in Woman in Mind. What is less clear is how much influence events in Ayckbourn's life have had on his writing, it is true that the theme of marriages in various difficulties was present throughout his plays in the early seventies, around the time his own marriage was coming to an end. However, by this time, he had witnessed the failures of his parents' relationships as well as those of some of his friends. Which relationships, if any, he drew on for his plays, is unclear. In Paul Allen's biography, Ayckbourn is compared to Dafydd and Guy in A Chorus of Disapproval. Both characters feel themselves in trouble, there was speculation that Ayckbourn himself may have felt himself to be in trouble.
At the time, he had become involved with another actress, which threatened his relationship with Ston
The Ferryman (play)
The Ferryman is a 2017 play by Jez Butterworth. Set during The Troubles, it tells the story of the family of a former IRA activist, living in their farmhouse in rural County Armagh, Northern Ireland in 1981, it had its world premiere at the Royal Court Theatre on 24 April 2017 running to 20 May, directed by Sam Mendes. It was the fastest-selling play in Royal Court Theatre history; the cast included Paddy Considine, Laura Donnelly, Genevieve O'Reilly, Bríd Brennan, Fra Fee, John Hodgkinson, Stuart Graham, Gerard Horan, Carla Langley, Des McAleer, Conor MacNeill, Rob Malone, Dearbhla Molloy, Eugene O'Hare and Niall Wright. The production transferred to the Gielgud Theatre, opening on 29 June 2017, following previews from 20 June. After a first cast change on 9 October 2017 with William Houston, Sarah Greene, Ivan Kaye and others joining the company, a second cast change took place on 8 January 2018, featuring Rosalie Craig, Owen McDonnell, Laurie Kynaston and Justin Edwards; the production closed on 19 May 2018.
The production transferred to the Bernard B. Jacobs Theatre on Broadway, beginning previews on 2 October 2018; the play will run on Broadway until July 7, 2019. Official Website Royal Court Listing
Edward Franklin Albee III was an American playwright known for works such as The Zoo Story, The Sandbox, Who's Afraid of Virginia Woolf?, A Delicate Balance. Three of his plays won the Pulitzer Prize for Drama, two of his other works won the Tony Award for Best Play, his works are considered as frank examinations of the modern condition. His early works reflect a mastery and Americanization of the Theatre of the Absurd that found its peak in works by European playwrights such as Samuel Beckett, Eugène Ionesco, Jean Genet, his middle period comprised plays that explored the psychology of maturing and sexual relationships. Younger American playwrights, such as Paula Vogel, credit Albee's daring mix of theatricality and biting dialogue with helping to reinvent the post-war American theatre in the early 1960s. In his life, Albee continued to experiment in works such as The Goat, or Who Is Sylvia?. Edward Albee was born in 1928, he was placed for adoption two weeks and taken to Larchmont, New York, where he grew up.
Albee's adoptive father, Reed A. Albee, the wealthy son of vaudeville magnate Edward Franklin Albee II, owned several theaters, his adoptive mother, Reed's third wife, was a socialite. He would base the main character of his 1991 play Three Tall Women on his mother, with whom he had a conflicted relationship. Albee attended the Clinton High School the Lawrenceville School in New Jersey, from which he was expelled, he was sent to Valley Forge Military Academy in Wayne, where he was dismissed in less than a year. He enrolled at The Choate School in Wallingford, graduating in 1946, his formal education continued at Trinity College in Hartford, where he was expelled in 1947 for skipping classes and refusing to attend compulsory chapel. Albee left home for good. In a interview, he said: "I never felt comfortable with the adoptive parents. I don't think. I didn't know how to be a son, either." In a 1994 interview, he stated that he left home at the age of 18 because " had to get out of that stultifying, suffocating environment."
In a 2008 interview, he told interviewer Charlie Rose that he was "thrown out" because his parents wanted him to become a "corporate thug" and did not approve of his aspirations to become a writer. Albee moved into New York's Greenwich Village, where he supported himself with odd jobs while learning to write plays. In his early plays, Albee's work had various representations of the LGBTQIA community challenging the image of a heterosexual marriage. Despite challenging society's views about the gay community, he did not view himself as an LGBT advocate. Albee's work criticized the American dream, his first play, The Zoo Story, written in three weeks, was first staged in Berlin in 1959 before premiering Off-Broadway in 1960. His next play, The Death of Bessie Smith premiered in Berlin before arriving in New York. Albee's most iconic play, Who's Afraid of Virginia Woolf?, opened on Broadway at the Billy Rose Theatre on October 13, 1962, closed on May 16, 1964, after five previews and 664 performances.
The controversial play won the Tony Award for Best Play in 1963 and was selected for the 1963 Pulitzer Prize by the award's drama jury, but was overruled by the advisory committee, which elected not to give a drama award at all. The two members of the jury, John Mason Brown and John Gassner, subsequently resigned in protest. An Academy Award-winning film adaptation of the controversial play was released in 1966 starring Elizabeth Taylor, Richard Burton, George Segal, Sandy Dennis. In 2013, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally or aesthetically significant". According to The New York Times, Albee was "widely considered to be the foremost American playwright of his generation."The less than diligent student dedicated much of his time to promoting American university theatre. Most he served as distinguished professor at the University of Houston, where he taught an exclusive playwriting course, his plays are published by Inc..
A member of the Dramatists Guild Council, Albee received three Pulitzer Prizes for drama—for A Delicate Balance and Three Tall Women. Albee was elected a Fellow of the American Academy of Arts and Sciences in 1972. In 1985, Albee was inducted into the American Theatre Hall of Fame. In 1999, Albee received the PEN/Laura Pels International Foundation for Theater Award as a Master American Dramatist, he received a Special Tony Award for Lifetime Achievement. In 2009, Albee received honorary degree from the Bulgarian National Academy of Theater and Film Arts, a member of the Global Alliance of Theater Schools. In 2008, in celebration of Albee's 80th birthday, a number of his plays were mounted in distinguished Off-Broadway venues, including the historic Cherry Lane Theatre where the playwright directed two of his early one-acts, The American Dream and The Sandbox. Albee established the Edward F. Albee Foundation, Inc. in 1967, from royalties from his play Who's Afraid of Virginia Woolf?. The foundation funds the William Flanagan Memorial Creative Persons Center in Montauk, New York, as a residence for writers and visual artists.
The Royal Family (play)
The Royal Family is a play written by George S. Kaufman and Edna Ferber, its premiere on Broadway was at the Selwyn Theatre on 28 December 1927, where it ran for 345 performances to close in October 1928. It was included in Burns Mantle's The Best Plays of 1927–1928. CharactersFanny Cavendish – Cavendish Family Matriarch Julie Cavendish – Fanny's daughter Tony Cavendish – Fanny's son Gwen Cavendish – Fanny's granddaughter Herbert Dean – Fanny's brother Kitty Dean – Fanny's sister-in-law Oscar Wolfe – Cavendish Family's Long-time Agent Gilbert Marshall – Julie's Love Interest Perry Stewart – Gwen's FianceeThe story is a parody of the Barrymore family of actors, with particular aim taken at John Barrymore and Ethel Barrymore; the character Tony Cavendish, a heavy-drinking womanizer, represents John Barrymore. Julie Cavendish is the prima donna Broadway star Ethel Barrymore. Ethel Barrymore was offended and her critical comments were quoted by the press. In England, Noël Coward directed the West End version of the play in 1934, with a cast that included Laurence Olivier as Tony.
Before moving to Broadway, the play had successful out-of-town try-outs in Atlantic City. The Royal Family opened one day after the revolutionary musical Show Boat, based on Ferber's novel of the same title. Edna Ferber herself acted in The Royal Family at the Maplewood Theater in 1940, in a production staged by Cheryl Crawford A revival of the comedy was one of the highlights of the 1975–76 season on Broadway. Directed by Ellis Rabb, it starred Rosemary Harris as Julie Cavendish, George Grizzard as Tony, Eva Le Gallienne as the theatrical matriarch and Sam Levene as Oscar Wolfe. Rabb received the 1976 Tony Award for best director; the production was telecast on the PBS series Great Performances on November 9, 1977, with Rabb replacing Grizzard as Tony. This version was released on DVD; the play was revived as part of Chicago's Steppenwolf Theatre's 2001–02 season with Amy Morton and Rondi Reed in the cast. Another revival ran from September to December 2009 at the Samuel J. Friedman Theatre, it starred Rosemary Harris as Fanny, Jan Maxwell as Julie Cavendish, Ana Gasteyer as Kitty Dean.
In 2001, Emily Blunt made her debut opposite Judi Dench in Sir Peter Hall's production of the play. The play was adapted in 1930 by Herman Mankiewicz for the film The Royal Family of Broadway released by Paramount Pictures; the film was directed by Cyril Gardner and stars Ina Claire and Fredric March. Several live television adaptions were produced, including one in 1952, a BBC film for television, starring Morton Lowry as Tony Cavendish and Charmion King as Julia, renamed as'Theatre Royal' and one in 1954, with Fredric March reprising his role as Tony, Helen Hayes as Fanny, Claudette Colbert as Julie. Awards1975 Drama Desk Award for Outstanding Revival of a Play 2010 Nominated for Best Revival of a Play Kaufman, George S.. The Royal Family. Garden City, New York: Doubleday, Doran & Company, Inc. OCLC 1490010; the Royal Family at the Internet Broadway Database The Royal Family at the Internet Broadway Database The Royal Family at the Internet Broadway Database 1945 Theatre Guild on the Air radio adaptation at Internet Archive