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With “Don’t Bother Me, I Can’t Cope,” she became the first woman to write the book, music and lyrics of a Broadway musical.
He led a big band, conducted on Broadway, collected Emmys and for nearly 50 years led the orchestra on the annual Tony Awards broadcast.
He was honored for “Travels With My Aunt,” “Death on the Nile” and “Tess.” He was also renowned for the outlandish outfits he created for Glenn Close as the evil Cruella de Vil.
She was a tough yet empathetic voice professor at Oklahoma City University for 67 years. Two of her students, Kelli O’Hara and Kristin Chenoweth, won Tony Awards.
He worked with Steven Spielberg, Barbra Streisand and Elvis Presley, wrote the theme music to many familiar series and accompanied Nichols and May and Bea Arthur on Broadway.
In his long career, he persuaded Elizabeth Taylor to make her Broadway debut in “The Little Foxes” and produced a memorable flop starring Muhammad Ali.
He specialized in one-character dramas, portraying luminaries like Emily Dickinson, John Barrymore, Lillian Hellman, Zelda Fitzgerald and Isak Dinesen.
He turned the comic strip “Little Orphan Annie” into a long-running Broadway musical and wrote the memorable lyrics to a score that included “Tomorrow.”
For more than a decade, Mr. Hirson was known for writing for television, but meeting the composer Stephen Schwartz led to the hit musical “Pippin.”
Inspired by Jerome Robbins, who cast him in the stage and film versions of “West Side Story,” he went on to create dances for Ann-Margret and others.
Called “the Susan Sontag of Soviet aesthetic thought,” she wrote about film and theater and helped make a film that drew parallels between Nazism and Stalin.
She was best known for wildly different roles, in a frat house comedy and in the 1960s drama “Medium Cool.” She was also in films by Clint Eastwood and Martin Scorsese.
Mr. Masterson helped turn a magazine article about a bordello into a hit Broadway musical. He later directed the movie “The Trip to Bountiful.”
As a founder of the Compass Players in Chicago, he helped create the world of improvisational comedy that is best known in the work of Second City
Mr. Frankel, a former dress manufacturer, produced more than 50 plays and musicals with various partners and won nine Tony Awards.
Using unorthodox methods (walk around a room, speak it together), she helped actors find their voices by feeling the weight and rhythms of the words.
Mr. Donat acted often on the screen and had a recurring role on “The X Files.” But he said he was most gratified by theatrical work.
A showman who helped put “The Sound of Music” on television, “Chicago” on movie screens and “How to Succeed in Business” back on Broadway.
Ms. Harris got her start with the Second City and went on to win a Tony Award and to appear in films like “A Thousand Clowns” and “Nashville.”
After a Broadway run, Mr. Ntshona was jailed in his home country for performing in a play he had written with Athol Fugard and the actor John Kani.
A former dancer, Mr. Johnson collaborated with Mel Brooks on several movies and once asked him, “‘Oh my God, are we allowed to show this?”
After a long and successful career as a ballerina, Ms. Lynne found greater fame creating dances for Andrew Lloyd Webber and others.
Mr. Campanella found his stride on television as a frequent guest star, playing doctors, lawyers, criminals, cops and judges.
Find the character in the words on the page, he instructed Kevin Kline, Glenn Close, James Gandolfini, Rachel Weisz and others.
An insatiable curiosity led him to contemplate Jewish superheroes, bad acting, the sexualized worlds of Weimer Berlin and Risqué Paris, and more.
He wrote the music. A former college friend, Tom Jones, wrote the words. What resulted was the world’s longest-running musical (and a lasting partnership).
An actress whose face was more familiar than her name, Ms. Nelson was seen onstage, in movies and on television for a half-century.
After Ms. Headly‘s career took shape with the Steppenwolf theater group, she appeared in Hollywood films like “Dick Tracy” and “Dirty Rotten Scoundrels.”
“The central focus for you is to help the composer say what he wants to say,” Mr. Brohn said of his work as an orchestrator.
Mr. Bogdanov also directed plays by Molière, Goethe, Chekhov, Gogol and Dylan Thomas, as well as musicals and operas. But a contemporary play nearly put him in jail.
The Cuban-born Mr. Ferrá was the first artistic director of the Intar Hispanic American Arts Center, an Off Broadway theater company that nurtures Latino playwrights.