Word: wharf
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Dates: during 1970-1979
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...theaters that now feed Broadway. The most promising young playwrights have come from them too. Terrence McNally (Bad Habits, The Ritz) got his start at the Manhattan Theater Club. So did Mark Medoff (The Wager, When You Comin' Back, Red Ryder?). It was New Haven's Long Wharf Theater that introduced the best young British playwrights. Sam Shepard, perhaps the most promising young playwright, had his first success, The Tooth of Crime, at Princeton's McCarter Theater. Joe Papp is right when he says, "When you talk about good times in the theater, you are talking about...
...street to pick up Louis Sevilitti. They drive in silence to the Essex Delicatessen or a similar all-night restaurant where they know all the "regulars" and where Joe orders a bagel and tea, Louis coffee and an English. Then they make their way down Atlantic Ave, to the wharf where Louis' boat, the Salvatore, is moored, and motor out past the airport in the sunrise...
...year-old Yale drama school graduate, Arvin Brown was "burning to direct" when in 1965 he helped start the Long Wharf Theater in New Haven, Conn. And for his own professional debut in the converted warehouse in the city's food terminal, he bit off what most veterans fear to chew, O'Neill's Long Day's Journey, perhaps America's best play...
...eclectic, adventurous choice of plays soon put Long Wharf into the forefront of regional theaters. Brown himself emerged as a likely heir to the late Tyrone Guthrie, the swashbuckling repertory advocate who in 1958 moved to Minneapolis and fired up the U.S. regional-theater movement. Apart from the obligatory classics, Brown digs out such unlikely playwrights as D.H. Lawrence (The Widowing of Mrs. Holroyd) and Maxim Gorky (Country People). "Gorky's plays are particularly interesting today. His people are activists, revolutionaries...
...problem-plagued Vivian Beaumont Theater in 1973, Brown was considered for the job, but insists he would not have taken it. Says he: "The director of Lincoln Center is a driven man." He adds, "I think all good work in the theater comes from relaxation. At Long Wharf I have New York exposure when I want it and a board of directors who understand that theater today, like opera and ballet, is not going to make money." Although Long Wharf now plays to 90% capacity in an eight-month season, it has a mulish deficit of $400,000. Still, Brown...