Suspense (U.S. TV series)
Suspense is an American television anthology series that ran on CBS Television from 1949 to 1954. It was adapted from the radio program of the same name which ran from 1942 to 1962. Like many early television programs, the show was broadcast live from New York City, it was sponsored by the Auto-Lite corporation, each episode was introduced by host Rex Marshall, who promoted Auto-Lite spark plugs, car batteries and other car parts. Some of the early scripts were adapted from Suspense radio scripts, while others were original for television. Like the radio program, many scripts were adaptations of literary classics by well-known authors. Classic authors such as Edgar Allan Poe, Agatha Christie, Charles Dickens all had stories adapted for the series, while contemporary authors such as Roald Dahl and Gore Vidal contributed. Many notable actors appeared on the program, including Bela Lugosi, Boris Karloff, Cloris Leachman, Brian Keith, Franchot Tone, Robert Emhardt, Leslie Nielsen, Lloyd Bridges, many more.
The program was a live television series. However, only 90 of the 260 episodes survive today; the rest were destroyed and no longer exist in any format. Suspense on IMDb Suspense TV: An Introduction to the Show Suspense episode "Woman in Love" at Internet Archive Suspense at CVTA with episode list
Eugene Gladstone O'Neill was an American playwright and Nobel laureate in Literature. His poetically titled plays were among the first to introduce into U. S. drama techniques of realism earlier associated with Russian playwright Anton Chekhov, Norwegian playwright Henrik Ibsen, Swedish playwright August Strindberg. The drama Long Day's Journey into Night is numbered on the short list of the finest U. S. plays in the 20th century, alongside Tennessee Williams's A Streetcar Named Desire and Arthur Miller's Death of a Salesman. O'Neill's plays were among the first to include speeches in American English vernacular and involve characters on the fringes of society, they struggle to maintain their hopes and aspirations, but slide into disillusionment and despair. Of his few comedies, only one is well-known. Nearly all of his other plays involve some degree of tragedy and personal pessimism. O'Neill was born in a hotel, the Barrett House, at Broadway and 43rd Street, on what was Longacre Square. A commemorative plaque was first dedicated there in 1957.
The site is now occupied by 1500 Broadway, which houses offices and the ABC Studios. He was the son of Irish immigrant actor James O'Neill and Mary Ellen Quinlan, of Irish descent; because his father was on tour with a theatrical company, accompanied by Eugene's mother, O'Neill was sent to St. Aloysius Academy for Boys, a Catholic boarding school in the Riverdale section of the Bronx, where he found his only solace in books, his father suffered from alcoholism. The O'Neill family reunited for summers at the Monte Cristo Cottage in Connecticut, he briefly attended Betts Academy in Stamford. He attended Princeton University for one year. Accounts vary as to, he may have been dropped for attending too few classes, been suspended for "conduct code violations," or "for breaking a window", or according to a more concrete but apocryphal account, because he threw "a beer bottle into the window of Professor Woodrow Wilson", the future president of the United States. O'Neill spent several years at sea, during which he suffered from alcoholism.
Despite this, he had a deep love for the sea and it became a prominent theme in many of his plays, several of which are set on board ships like those on which he worked. O'Neill joined the Marine Transport Workers Union of the Industrial Workers of the World, fighting for improved living conditions for the working class using quick'on the job' direct action. O'Neill's parents and elder brother Jamie died within three years of one another, not long after he had begun to make his mark in the theater. After his experience in 1912–13 at a sanatorium where he was recovering from tuberculosis, he decided to devote himself full-time to writing plays. O'Neill had been employed by the New London Telegraph, writing poetry as well as reporting. In the fall of 1914, he entered Harvard University to attend a course in dramatic technique given by Professor George Baker, he did not complete the course. During the 1910s O'Neill was a regular on the Greenwich Village literary scene, where he befriended many radicals, most notably Communist Labor Party of America founder John Reed.
O'Neill had a brief romantic relationship with Reed's wife, writer Louise Bryant. O'Neill was portrayed about the life of John Reed, his involvement with the Provincetown Players began in mid-1916. O'Neill is said to have arrived for the summer in Provincetown with "a trunk full of plays." Susan Glaspell describes a reading of Bound East for Cardiff that took place in the living room of Glaspell and her husband George Cram Cook's home on Commercial Street, adjacent to the wharf, used by the Players for their theater: "So Gene took Bound East for Cardiff out of his trunk, Freddie Burt read it to us, Gene staying out in the dining-room while reading went on. He was not left alone in the dining-room when the reading had finished." The Provincetown Players performed many of O'Neill's early works in their theaters both in Provincetown and on MacDougal Street in Greenwich Village. Some of these early plays began downtown and moved to Broadway. One of these early one acts written by O'Neill was The Web.
Written in 1913, this is the first time O'Neill explores the famous themes he thrives in in his career. The Web was one of O'Neill's first dramas; this one act began his interesting inclusion of the brothel world. This can be showcased. We see O'Neill explore memorable avenues within this play such a including a baby, born out of prostitution; this was a huge stepping stone as O'Neill is exploring fields in which have never before been explored with such success. O'Neill's first published play, Beyond the Horizon, opened on Broadway in 1920 to great acclaim, was awarded the Pulitzer Prize for Drama, his first major hit was The Emperor Jones, which ran on Broadway in 1920 and obliquely commented on the U. S. occupation of Haiti, a topic of debate in that year's presidential election. His best-known plays include Anna Christie, Desire Under the Elms, Strange Interlude, Mourning Becomes Electra, his only well-known comedy, Ah, Wilderness!, a wistful re-imagining of his youth as he wished it had been.
In 1936 he received the
Rebecca Augusta Miller, Lady Day-Lewis is an American independent filmmaker and novelist, known for her films Angela, Personal Velocity: Three Portraits, The Ballad of Jack and Rose, The Private Lives of Pippa Lee, Maggie's Plan, all of which she wrote and directed. Miller is the daughter of Arthur Miller, a Pulitzer Prize-winning playwright, his third wife Inge Morath, Magnum photographer. Miller was born in Roxbury, Connecticut, to Arthur Miller, a notable playwright, Austrian-born Inge Morath, a photographer, her younger brother, was born in 1966. Her father was Jewish, her mother was Protestant. For a time during childhood, Miller practiced Catholicism on her own accord, she has said that she stopped thinking of herself as a Christian "somewhere at the end of college". Miller remembered her childhood in Roxbury as being surrounded by artists. Sculptor Alexander Calder was a neighbor. Immersed in drawing, Miller was tutored by sculptor Philip Grausman. Miller was educated at Choate Rosemary Hall.
In 1980, she entered Yale University to study literature. Naomi Wolf was her roommate and became a noted author. Miller created wooden panel triptychs she described as hybrids of pictographic forms inspired, for example, by Paul Klee and a 15th-century altarpiece. Upon graduation in 1985, Miller went abroad to Munich, Germany. In 1987, Miller took up residence in New York City, she showed painting and sculpture at Leo Castelli Gallery, Victoria Munroe Gallery, in Connecticut. Miller studied film at The New School. Mentored by 92-year-old professor Arnold S. Eagle, a photographer and cinematographer, Miller began making non-verbal films, which she exhibited along with her artwork. In 1988, Miller was cast in the role of Anya in the Peter Brook's adaptation of Chekhov's The Cherry Orchard, her first stage role, she originated the part of Lili in The American Plan. Throughout, Miller gravitated toward her role as an independent filmmaker/director. Miller began her acting career with directors Alan Pakula, Paul Mazursky, Mike Nichols.
She played the female lead in NBC's television movie The Murder of Mary Phagan, supporting roles in feature films, including Regarding Henry and Consenting Adults. In 1991, Miller wrote and directed a short film Florence, starring actress Marcia Gay Harden, about a precociously empathetic woman who acquires the symptoms from others. Florence caught the attention of Ensemble Theatre Cincinnati, Miller was invited to direct a revival of Arthur Miller’s After the Fall, she directed Nicole Burdette's play The Bluebird Special Came Through Here. Miller is a novelist, independent filmmaker, advocate of women in the film industry, she was featured in the 2003 IFC Films documentary In The Company of Women, directed by Lesli Klainberg and Gini Reticker. In 2009, Miller was honored with the Maureen O'Hara Award in recognition of achievements in film. Miller wrote and directed her first film, Angela, in 1995, it is the story of 10-year-old Angela's attempt to purge her soul of sin in order to cure her mentally ill mother.
The film premiered at Philadelphia Festival of World Cinema, screened at Sundance Film Festival. For Angela, Miller received the Independent Feature Project Gotham Awards, the Independent Film Project's Open Palm Award, the Sundance Film Festival Filmmaker Trophy from her peers; the film cinematographer Ellen Kuras was honored at Sundance and the Brussels International Festival of Fantasy Film. Miller's collection of prose portraits of women, Personal Velocity, was awarded The Washington Post Best Book of 2001. Personal Velocity was adapted by Miller for her 2002 award-winning feature film by the same name, she adapted three short stories into a screenplay of three different, although thematically unified short films, which Miller directed. Each film explores personal transformation in response to life-changing circumstances. Miller credits the poet Honor Moore for help to "bridge the gap between being a writer of scripts and fiction." Personal Velocity: Three Portraits screened at Tribeca Film Festival, the High Falls Film Festival, the film was released through United Artists.
The film earned critical praise from The New York Times as "the work of a talented and visual writer." For Personal Velocity, Miller received the Sundance Film Festival Grand Jury Prize and the Independent Spirit John Cassavetes Award in 2002, the National Board of Review of Motion Pictures Special Recognition for Excellence in Filmmaking in 2003. Cinematographer Ellen Kuras received the Excellence in Cinematography Award at Sundance. Personal Velocity: Three Portraits is part of the permanent collection of the Museum of Modern Art in New York City. In 2003, Miller illustrated A Woman Who; the book is a collection of images of women, in a variety of scenes, each drawn by Miller with her eyes closed. Miller wrote the screenplay for the 2005 film adaptation of David Auburn's Pulitzer Prize-winning play Proof; the film was directed by John Madden, stars Gwyneth Paltrow and Anthony Hopkins. In 2005, Miller directed her film, The Ballad of Jack and Rose, which stars Daniel Day-Lewis, Camilla Belle and Catherine Keener.
Shot on location in Nova Scotia and on Prince Edward Island, the film is a textured, coming of age story about a 16-year-old named Rose who has grown up in isolation with her father. The Ballad of Jack and Rose screened at the Woodstock Film IFC Center in New York. For The Ballad of Jack and Rose, Miller received Honorable Mention from MTV's 2010 The Best Fe
Othello is a tragedy by William Shakespeare, believed to have been written in 1603. It is based on the story Un Capitano Moro by Cinthio, a disciple of Boccaccio, first published in 1565; the story revolves around its two central characters: Othello, a Moorish general in the Venetian army and his unfaithful ensign, Iago. Given its varied and enduring themes of racism, jealousy, betrayal and repentance, Othello is still performed in professional and community theatre alike, has been the source for numerous operatic and literary adaptations. Roderigo, a wealthy and dissolute gentleman, complains to his friend Iago, an ensign, that Iago has not told him about the secret marriage between Desdemona, the daughter of a senator named Brabantio, Othello, a Moorish general in the Venetian army. Roderigo is upset because he had asked her father for her hand in marriage. Iago hates Othello for promoting a younger man named Cassio above him, whom Iago considers less capable a soldier than himself, tells Roderigo that he plans to exploit Othello for his own advantage.
Iago convinces Roderigo to tell him about his daughter's elopement. Meanwhile, Iago warns him that Brabantio is coming for him. Brabantio, provoked by Roderigo, is enraged and will not rest until he has confronted Othello, but he finds Othello's residence full of the Duke of Venice's guards, who prevent violence. News has arrived in Venice that the Turks are going to attack Cyprus, Othello is therefore summoned to advise the senators. Brabantio has no option but to accompany Othello to the Duke's residence, where he accuses Othello of seducing Desdemona by witchcraft. Othello defends himself before the Duke of Venice, Brabantio's kinsmen Lodovico and Gratiano, various senators. Othello explains that Desdemona became enamoured of him for the sad and compelling stories he told of his life before Venice, not because of any witchcraft; the senate is satisfied, once Desdemona confirms that she loves Othello, but Brabantio leaves saying that Desdemona will betray Othello: "Look to her, Moor, if thou hast eyes to see:/She has deceived her father, may thee,".
Iago, still in the room, takes note of Brabantio's remark. By order of the Duke, Othello leaves Venice to command the Venetian armies against invading Turks on the island of Cyprus, accompanied by his new wife, his new lieutenant Cassio, his ensign Iago, Iago's wife, Emilia, as Desdemona's attendant; the party arrives in Cyprus to find. Othello orders a general leaves to consummate his marriage with Desdemona. In his absence, Iago gets Cassio drunk, persuades Roderigo to draw Cassio into a fight. Montano tries to calm down an angry and drunk Cassio. Montano is injured in the fight. Othello questions the men as to what happened. Othello strips him of his rank. Cassio is distraught. Iago persuades Cassio to ask Desdemona to convince her husband to reinstate Cassio. Iago now persuades Othello to be suspicious of Desdemona; when Desdemona drops a handkerchief, Emilia finds it, gives it to her husband Iago, at his request, unaware of what he plans to do with it. Othello reenters and vows with Iago for the death of Desdemona and Cassio, after which he makes Iago his lieutenant.
Act III, scene iii is considered to be the turning point of the play as it is the scene in which Iago sows the seeds of doubt in Othello's mind sealing Othello's fate. Iago plants the handkerchief in Cassio's lodgings tells Othello to watch Cassio's reactions while Iago questions him. Iago goads Cassio on to talk about his affair with Bianca, a local courtesan, but whispers her name so that Othello believes the two men are talking about Desdemona. Bianca accuses Cassio of giving her a second-hand gift which he had received from another lover. Othello sees this, Iago convinces him that Cassio received the handkerchief from Desdemona. Enraged and hurt, Othello tells Iago to kill Cassio. Othello proceeds to make Desdemona's life miserable and strikes her in front of visiting Venetian nobles. Meanwhile, Roderigo complains that he has received no results from Iago in return for his money and efforts to win Desdemona, but Iago convinces him to kill Cassio. Roderigo, having been manipulated by Iago, attacks Cassio in the street after Cassio leaves Bianca's lodgings.
Cassio wounds Roderigo. During the scuffle, Iago badly cuts his leg. In the darkness, Iago manages to hide his identity, when Lodovico and Gratiano hear Cassio's cries for help, Iago joins them; when Cassio identifies Roderigo as one of his attackers, Iago secretly stabs Roderigo to stop him revealing the plot. Iago accuses Bianca of the failed conspiracy to kill Cassio. Othello confronts Desdemona, strangles her in their bed; when Emilia arrives, Desdemona defends her husband before dying, Othello accuses Desdemona of adultery. Emilia calls for help; the former governor Montano arrives, with Gratiano and Iago. When Othello mentions the handkerchief as proof, Emilia realizes what her husband Iago has done, she exposes him, whereupon he kills her. Othello, belatedly realising Desdemona's innocence, stabs Iago but not fatally, saying that Iago is a devil, he would rather have him live the rest of his life in pain. Iago refuses vowing to remain silent from that moment on. Lodovico apprehends both Iago and Othello for the murders of Roderigo and Desdemona, but Othello commits suicide.
Love of Life
Love of Life is an American soap opera televised on CBS from September 24, 1951, to February 1, 1980. It was created by Roy Winsor, whose previous creation Search for Tomorrow had premiered three weeks before Love of Life, who would go on to create The Secret Storm two and a half years later. Love of Life came from Liederkranz Hall on East 58th Street in Manhattan. Mike and Buff, Ernie Kovacs, Douglas Edwards and the News, as well as Search for Tomorrow and The Guiding Light came from that location; the program originated at other studios in Manhattan, but at the CBS Broadcast Center on West 57th Street and CBS' Studio 52 behind the Ed Sullivan Theater. In 1975, the series moved to make way for a nightclub that became known as Studio 54; until its final episode in 1980, Love of Life was taped in Studio 44 at the CBS Broadcast Center. Unlike most other soap operas, Love of Life was not split up into segments dictated by commercial breaks; because the show was owned by packaged-goods giant American Home Products and licensed to CBS, all commercials were for AHP products, occurred before or after the show.
In the 1960s, one commercial break was allotted around the middle of the program, but this was to allow affiliates to reconnect with the feed after airing local commercials. Love of Life adopted the "five segments per half-hour" standard in the 1970s. Love of Life began, as most other television serials of that era, as a 15-minute program, airing at 12:15 pm Eastern; the program became so popular, CBS expanded it to 30 minutes on April 14, 1958, moving it to noon/11:00. During that period, Love of Life placed in the ratings among the top six soaps in the 1950s and 1960s. Starting on October 1, 1962, the episode duration was reduced by five minutes to accommodate a newscast. To accommodate the new in-house serial Where the Heart Is, starting on September 8, 1969, CBS moved Love of Life ahead 30 minutes to 11:30/10:30, which put it against the popular Hollywood Squares; as such, Love of Life's audience share dropped from fifth place in the 1968/1969 Nielsens to 11th in the 1969/1970 season. This led to a major win for NBC in 1971 by having Hollywood Squares, Jeopardy!, the serial Days of Our Lives reach the top five of all daytime programs.
From this date, episodes again had a full 30-minute duration. On March 26, 1973, episodes were again reduced to fit a 25-minute slot to accommodate a newscast. By this time, CBS had assumed production from the original packager, AHP, as it had with The Secret Storm. CBS canceled its in-house soaps Love is a Many Splendored Thing and Where the Heart Is in 1973, The Secret Storm in early 1974. Love of Life managed to escape cancellation due to a brief rise in the ratings in the mid-1970s, occasioned by the reintroduction of Meg to the storyline; the show's ratings climbed as high as ninth, above General Hospital and One Life to Live, in the 1975–1976 television season. On April 23, 1979, CBS moved Love of Life to the 4:00/3:00 pm slot that had opened when Match Game was canceled. For this slot, episodes again had a full 30-minute duration, accommodating the whole slot. However, ratings plummeted upon relocating. Beginning in September 1979, in some markets, this included a new daily syndicated version of the Match Game, which went up against Love of Life.
Despite CBS moving the show to the 4:00/3:00 timeslot, some affiliates chose to air it at earlier timeslots in pattern with the other soaps. For example, in Indianapolis, then-CBS affiliate WISH-TV aired Love of Life at 3:30 while airing One Day at a Time reruns at 4:00. Many West Coast stations, such as KNXT in Los Angeles, did this, as well, keeping Love of Life in tandem with the other soaps by airing it at 2:30 Pacific time, after Guiding Light. Other stations, such as then-O&O KMOX-TV in St. Louis, kept the show in late morning at 11:00. Additionally, WUSA in Washington, DC, chose to keep Love of Life at 11:30 while pre-empting The Price is Right. In the soap's home market of New York City, WCBS-TV aired it at noon. Within 10 months, CBS realized that the 4:00 slot would not work for Love of Life in light of affiliate tape-delays and pre-emptions, subsequently cancelled the show, its final episode aired on February 1, 1980. The following Monday, The Young and the Restless expanded to an hour, with One Day at a Time moving into the 4:00/3:00 timeslot.
According to rumors, once CBS cancelled Love of Life, they intended to use the show's New York studio space for the 1980 Winter Olympics, which took place that month in Lake Placid, New York. Director Larry Auerbach said that he lamented the network's 4:00/3:00 slot choice on the CBS Evening News the day Love of Life finished airing, feeling that the slot was better suited to airing shows that appealed to kids after school; the original story was a morality play of good versus evil, illustrated by the interactions between two sisters, Vanessa Dale and Meg Dale (originally Jean McBride, from 1951 to 1958. Vanessa was "the good girl", she stood up for what was right in her community. Meg was the schemer and all-around "bad" girl, as well as the mother of "Beanie" Harper played by Dennis Parnell. While Van disapproved of Meg's actions, she still loved her and taught the audience the value of forgiveness which involved Beanie, his strained relationship with Meg, his mother; the show was painted black-and-white in this regard, evident in the tagline recited at the beginning of each of t
The Edge of Night
The Edge of Night is an American television mystery series/soap opera produced by Procter & Gamble. It debuted on CBS on April 2, 1956, ran as a live broadcast on that network for most of its run until November 28, 1975, it is said that the writer P. G. Wodehouse, actress Bette Davis, actress Tallulah Bankhead, first lady Eleanor Roosevelt and songwriter Cole Porter were all devoted fans; the Edge of Night, whose working title was The Edge of Darkness, premiered on April 2, 1956, as one of the first two half-hour serials on television, the other being As the World Turns. Prior to the debuts of both shows, 15-minute-long shows had been the standard. Both shows aired on CBS, sponsored by Gamble; the show was conceived as the daytime television version of Perry Mason, popular in novel and radio formats at the time. Mason's creator Erle Stanley Gardner was to create and write the show, but a last-minute tiff between the CBS network and him caused Gardner to pull his support from the idea. CBS insisted that Mason be given a love interest to placate daytime soap opera audiences, but Gardner refused to take Mason in that direction.
Gardner patched up his differences with CBS, Perry Mason debuted in prime time in 1957. In 1956, a writer from the Perry Mason radio show, Irving Vendig, created a retooled idea for daytime television—and The Edge of Night was born. "John Larkin, radio's best identified Perry Mason, was cast as the protagonist-star as a detective as an attorney, in a thinly veiled copy of Perry Mason." Unlike Perry Mason, whose adventures took place in Southern California, the daytime series was set in the fictional Midwestern city of Monticello. A frequent backdrop for the show's early scenes was a restaurant called the Ho-Hi-Ho; the state capital, was known generically as "Capital City". From its beginning in 1956 until 1980, the downtown skyline of the city of Cincinnati stood in as Monticello. Procter & Gamble, which produced the show, is based in Cincinnati. In years, the Los Angeles skyline replaced that of Cincinnati; the skyline motif was eliminated altogether in the final two years of the show, as was the word "The" in the title.
While most soap operas centered on extended families or large hospitals that tended to be insular in their scope, The Edge of Night was the only daytime serial to capture the dynamics of a medium-sized city. Indeed, the city of Monticello—for all of its longtime friendships, age-old family vendettas, insidiously cutthroat district attorneys and bad cops in the proverbial pockets of white-collar mobsters—was as vital a "character" as any human being depicted on the show. During most of the show's run, viewers were treated to an announcer enthusiastically and energetically announcing the show's title, "Theee Edge...of Night!" Bob Dixon was the first announcer in 1956, followed by Herbert Duncan. The two voices most identified with the show, were those of Harry Kramer and Hal Simms, who announced until the series ended in 1984; the Edge of Night played on more artistic levels than any other soap of its time. It was unique among daytime soap operas in that it focused on crime, rather than domestic and romantic matters.
The police, district attorneys, medical examiners of fictional Monticello, USA, dealt with a steady onslaught of gangsters, drug dealers, cultists, international spies, corrupt politicians and murderous debutantes, while at the same time coping with more usual soap opera problems like courtship, divorce, child custody battles, amnesia. The show's particular focus on crime was recognized in 1980, when, in honor of its 25 years on the air, The Edge of Night was given a special Edgar Award by the Mystery Writers of America; the Edge of Night had more prominent male characters than most soap operas, included genuine humor in its scripts to balance the heaviness of the storylines. The show's central protagonist was Mike Karr, tireless crimefighter, introduced as a police officer, finishing law school; this character evolved from the earlier Perry Mason character on radio. He progressed to the district attorney's office as an assistant district attorney, hung his own shingle as a defense attorney for several years became district attorney of Monticello.
Karr was portrayed by three actors: John Larkin, Laurence Hugo, Forrest Compton. Among the show's cast members who appeared on The Edge of Night early in their careers and gained fame were Mariann Aalda, Leah Ayres, Conrad Bain, David Birney, Dixie Carter, Kate Capshaw, Philip Casnoff, Thom Christopher, Margaret Colin, James Coco, Jacqueline Courtney, John Cullum, Marcia Cross, Frances Fisher, Lucy Lee Flippin, David Froman, Penny Fuller, Scott Glenn, Sam Groom, Don Hastings, Earle Hyman, Željko Ivanek, Peter Kastner, Lori Loughlin, Bill Macy, Nancy Marchand, Doug McKeon, Julianne Moore, John Allen Nelson, Barry Newman, Bebe Neuwirth, Christopher Norris, Antony Ponzini, Lawrence Pressman, Tony Roberts, Reva Rose, Mark Rydell, Dolph Sweet, Millee Taggart, Holland Taylor, Richard Thomas, John Travolta, Ann Wedgeworth and Jacklyn Zeman. Over the years, the show featured many notable performers and celebrities in small cameo appearances, but some in roles important to the storylines. Among the show's guest stars were Willie Aames as Robbie Hamlin, Amanda Blake as Dr. Juliana Stanhower, Dick Cavett as Moe Eberhardt, Nancy Coleman as Elizabeth McGrath #2, Professor Irwin Corey, Selma Diamond, James Dou
The Obie Awards or Off-Broadway Theater Awards are annual awards given by The Village Voice newspaper to theatre artists and groups in New York City. In September 2014, the awards were jointly presented and administered with the American Theatre Wing; as the Tony Awards cover Broadway productions, the Obie Awards cover Off-Broadway and Off-Off-Broadway productions. The Obie Awards were initiated by Edwin Fancher, publisher of The Village Voice, who handled the financing and business side of the project, they were first given in 1956 under the direction of theater critic Jerry Tallmer. Only Off-Broadway productions were eligible; the first Obie Awards ceremony was held at Helen Gee's cafe. With the exception of the Lifetime Achievement and Best New American Play awards, there are no fixed categories at the Obie Awards, the winning actors and actresses are all in a single category titled "Performance." There are no announced nominations. Awards in the past have included performance, best production, special citations, sustained achievement.
Not every category is awarded every year. The Village Voice awards annual Obie grants to selected companies. There is a Ross Wetzsteon Grant, named after its former theater editor, in the amount of $2,000, for a theatre that nurtures innovative new plays; the first awards in 1955-1956 for plays and musicals were given to Absalom as Best New Play, Uncle Vanya, Best All-Around Production and The Threepenny Opera as Best Musical. Other awards for Off-Broadway theatre are the Lucille Lortel Awards, the Drama Desk Awards, the Drama League Award, the Outer Critics Circle Awards; as of September 2014, the Obie Awards are jointly presented by the American Theatre Wing and the Village Voice, with the Wing having "overall responsibility for running" the Awards. Obie Award for Distinguished Performance by an Actress Obie Award for Distinguished Performance by an Actor Obie Award for Distinguished Performance by an Ensemble Sustained Achievement Award Best New American Theatre Work Award Playwriting Award Design Award Special Citations Obie Grants The Ross Wetzsteon Award Obie Award ceremonies have been held at Webster Hall in Manhattan's East Village since the 2010-2011 season.
Winners from Infoplease.com "OBIE winners, 2011–2012", playbill.com "OBIE winners, 2012–2013", playbill.com "OBIE winners, 2013–2014", playbill.com "OBIE winners, 2014–2015", playbill.com "OBIE winners, 2015–2016", playbill.com OBIE winners, 2017 OBIE winners, 20182010s 2000s Obie Grants are awarded each year to select theatre companies. Previous recipients include: Ross Wetzsteon Award is a $2,000 grant awarded to a theatre that nurture innovative new plays. Previous recipients include: Official website