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The work, featuring a central character who is deaf, won the Tony Award for best play in 1980 and was turned into an Oscar-winning 1986 movie.
After gaining fame as the blustery newsman Ted Baxter’s love interest, Ms. Engel went on to “Everybody Loves Raymond” and more.
His DRG label specialized in the American songbook, cast albums and artists like Barbara Cook.
Before she found fame on two long-running television series, Ms. Helmond was a well-regarded stage actress.
A founder of the Free Southern Theater in 1963, he was as eager to hear his audiences’ stories as he was to perform.
Best known for the 1960s sitcom “The Mothers-in-Law,” she also had memorable turns in Broadway musicals and rode the nightclub circuit for years.
When she led the orchestra for “The Music Man” in 1960, she became the first woman to be hired as a full-time conductor for a Broadway show.
His work in opera, theater and ballet cast aside traditional ideas of what sets should be — realistic and utilitarian — in favor of abstract designs that made a statement.
He became a core member of the Spanish-language troupe Repertorio Español after leaving Cuba, where he had spent time in a forced-labor camp.
An “accidental actor,” he found himself on Broadway almost immediately after his career began and went on appear frequently onstage.
His plays, produced frequently in the 1970s, ’80s and ’90s, often threw polar opposites together to explore themes both comic and serious.
His cartoon show, loved by the 12-and-under crowd and by many much older fans as well, spawned two movies and a Tony-nominated Broadway musical.
Mr. Rain was a regular on the stage at the Stratford Festival for decades, but he was perhaps best known as HAL 9000 in “2001: A Space Odyssey.”
His achievements included helping to found the National Theater of the Deaf. The actress Marlee Matlin was one of his protégés.
Ms. Hall was a moderately successful songwriter until she and two collaborators came up with one of the biggest Broadway hits of the 1970s.
He won a Tony Award for his work in the 2009 revival of Mr. Wilson’s “Joe Turner’s Come and Gone,” his seventh and final Broadway appearance.
He represented hundreds of shows on Broadway and off and had a long association with Joseph Papp, whom he helped battle to keep Shakespeare free.
She helped the famed director Peter Brook start an influential theater group in Paris and mount major productions like “The Mahabharata.”
He also had a keen eye for undiscovered talent, helping along numerous careers as a reader of new works at the Royal Court Theater in London.
In a long career cut short by cancer, she earned three Tony nominations in just six years, for performances in “Passion,” “Ragtime” and “Kiss Me, Kate.”
Her works, drawn from her own experiences, including time in an internment camp, focused on dislocation and assimilation.
South African-born, Mr. Murray went to Broadway by way of the Royal Shakespeare Company. In a busy career, he was nominated for three Tony Awards.
South African-born, Mr. Murray went to Broadway by way of the Royal Shakespeare Company. In a busy career he was nominated for three Tony Awards.
Best known for a revelatory staging of “Morning’s at Seven,” he also directed Noël Coward in his final West End stage performance.
Mr. Glines was a producer who was committed to plays with gay themes and instrumental in bringing them into the mainstream.
Mr. Beach’s many Broadway roles also included Lumière, the genial candelabra, in the original cast of “Beauty and the Beast.”
His works on topical subjects like the AIDS crisis and suburban sprawl were widely staged, including by Circle Repertory Company and the Bay Street Theater.
She starred in the Broadway hit “Where’s Charley?” in 1948 and went on to TV fame on “The Tony Randall Show” and “The Days and Nights of Molly Dodd.”
Both his films and his stage work angered Communist officials, but he was embraced abroad and was an inspirational figure for the Romanian New Wave.
His dark works avoided the stereotype of a rural Irish utopia, instead exploring subjects like the county’s famine and its history of emigration.
The play, based on an Isaac Bashevis Singer story, was a tale of empowerment in the midst of feminism’s second wave.