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He more or less stumbled into a career as an actor, but it proved to be a long and prolific one, on film, on television and especially on the stage.
Curious about creativity, she chronicled the lives of Agnes de Mille, Jacqueline du Pré, Samuel Goldwyn and Stan Kenton.
As chairman of New York’s preservation commission, he also oversaw the preservation of St. Bartholomew’s Church, the Coney Island Cyclone and Ladies’ Mile.
He was chairman of the Brooklyn Academy of Music and a benefactor of St. Ann’s Warehouse. He and his wife also helped create a center for women’s history.
A struggling performer herself, she began publishing The Players’ Guide, a compendium of names, photographs, credits and phone numbers, in 1944.
She married the composer Frank Loesser and stopped performing after starring in his “Most Happy Fella.” Resuming her career after he died, she emphasized his music.
With little formal training, he made his debut on Broadway when he was 19 and became a prolific presence on TV and in concert halls around the world.
As a tormented young gay man aspiring to be a Broadway dancer, he delivered a wrenching monologue. But his career soon took a downturn.
A third-generation real estate owner and manager, he was instrumental in a public-private partnership in Queens that spurred filmmaking in New York.
A coal miner’s son, he had a long theater, film and TV career, but he was best known as the rebellious antihero in John Osborne’s “Look Back in Anger.”
Ms. Sawyer performed in vaudeville and acted on stages and screens for more than eight decades. “Just keep me workin’,” she said.
Mr. Martin developed a knack for discovering new talent and for redeeming scripts that fellow producers had rejected as potential flops.
Ms. Lyng not only inspired the show and starred in its original cast; she also invested her comic talent and meager financial resources in it.
Ms. Button helped define hundreds of characters in Broadway and Off Broadway plays.
Mr. Hoffman began his career as a book editor and also wrote the groundbreaking libretto for John Corigliano’s opera “The Ghosts of Versailles.”
Mr. Ninagawa fused Kabuki with Western realism to mount original versions of Greek and Shakespearean tragedies in Japan, Europe and the United States.
Ms. Kauders was about 60 when she resolutely began auditioning for the career she had coveted since second grade.
A Canadian who originated the Broadway role of Abigail in Arthur Miller’s “The Crucible,” she also starred in stage and film versions of Tennessee Williams plays.
Mr. Anderson performed on radio as a teenager with Orson Welles’s Mercury Theater and appeared on Broadway, in films and on television.
The history of a dramatic phenomenon that acculturated immigrant Jews and propelled some to national fame.
Attending “Our Mother’s Brief Affair,” a writer is surprised to learn that his account of World War II spying helped inspire the play.
Mr. Margulies, a versatile character actor, performed in scores of supporting stage, film and television roles.
Ms. Elliott won a Tony for best featured actress in a musical (and a Drama Desk Award) in 1973 for playing a Swedish countess in the original production of Stephen Sondheim’s “A Little N…
Father Curry, who was born without a right forearm, embraced stagecraft as his vehicle to overcome what others viewed as a handicap.
Mr. Prideaux wrote television movies that starred Katharine Hepburn and Elizabeth Taylor and a play for which Julie Harris won a Tony for best actress.
Mr. Becker, a culturally minded businessman, acquired Janus Films in 1965 with a partner, and they vastly expanded its library and broadened its distribution.
Ms. von Furstenberg made her debut in the movies and on the Broadway stage in the early 1950s as a teenager and later reinvented herself as a television actress, writer and philanthropist.