Belasco Theatre
Stuyvesant Theatre | |
Address | 111 West 44th Street Manhattan, New York City United States |
---|---|
Coordinates | 40°45′24″N 73°59′02″W / 40.75667°N 73.98389°W |
Owner | The Shubert Organization |
Designation | Broadway |
Type | Broadway |
Capacity | 1,016 |
Production | Appropriate |
Construction | |
Opened | October 16, 1907 |
Architect | George Keister |
Website | |
shubert.nyc/theatres/belasco/ | |
New York City Landmark | |
Designated | November 4, 1987[1] |
Reference no. | 1317[1] |
Designated entity | Facade |
New York City Landmark | |
Designated | November 4, 1987[2] |
Reference no. | 1318[2] |
Designated entity | Lobby and auditorium interior |
The Belasco Theatre is a
The main facade on 44th Street is made of red brick in Flemish bond, with terracotta decorative elements. The ground floor contains the entrance, while the upper stories are asymmetrical and topped by a pediment. Belasco and his company had their offices in the western wing of the theater. A ten-room duplex penthouse apartment occupies the top of the eastern wing and contained Belasco's collection of memorabilia. The interior features Tiffany lighting and ceiling panels, rich woodwork, and expansive murals by American artist Everett Shinn. The auditorium consists of a ground-level orchestra and two overhanging balconies, with boxes at the second balcony level.
The theater was developed by
Site
The Belasco Theatre is on 111 West 44th Street, on the north sidewalk between Seventh Avenue and Sixth Avenue, near Times Square in the Theater District of Midtown Manhattan in New York City.[3][4] The rectangular land lot covers 12,552 sq ft (1,166.1 m2),[4] with a frontage of 125 ft (38 m) on 44th Street and a depth of about 100 ft (30 m).[5][6] On the same block, the Hotel Gerard, Hudson Theatre, and Millennium Times Square New York are to the west. Other nearby buildings include the Algonquin Hotel to the east, 1166 Avenue of the Americas to the northeast, the Americas Tower and High School of Performing Arts to the north, the Lyceum Theatre and 1540 Broadway to the northwest, 1500 Broadway to the southwest, and the Chatwal New York hotel and the Town Hall to the south.[4]
Design
The Belasco Theatre was designed by George Keister, the architect of the neighboring Hotel Gerard, in the neo-Georgian style. It was constructed from 1906 to 1907 as the Stuyvesant Theatre and was originally operated by David Belasco.[3][7] The neo-Georgian style was selected because a similar style was used on many early government buildings of New York City.[7] The original name was a homage to Peter Stuyvesant, a director-general of New Amsterdam, the 17th-century Dutch colony that later became New York City.[7][8][9] Compared to its contemporaries, the Belasco is relatively small.[7] A wing for offices and dressing rooms, separated from the rest of the theater by a thick wall, was constructed on the west side of the theater.[10][11] The eastern part of the theater is topped by a private duplex apartment built in 1909.[12]
Facade
The primary
Ground story
On 44th Street, the ground-story facade consists of a
The facade's westernmost portion corresponds to the office stories and has a granite stoop with two steps. The steps are flanked by iron railings and lead to two pairs of wood-and-glass doors, which connect to the ticket lobby. These doorways are set within the same opening, with Doric terracotta pilasters on either side and an entablature above. A metal gate leads to an alley on the west.[13] The easternmost section contains a stoop with three steps, which lead to a pair of wood-and-glass doors flanked by pilasters; this provides access to the balcony.[19] A large metal canopy hangs above the doorways.[18] An egg-and-dart molding and a Greek key frieze runs above the ground story on 44th Street.[19]
Upper stories
The upper stories are asymmetrical.[7] The office section of the theater is at the extreme western end of the facade, while a pair of pavilions flanks three vertical bays on the rest of the facade. The entire third story is topped by an entablature with a molded frieze, a set of dentils, and a heavy cornice with modillions. The cornice wraps around to the side elevations of the facade.[19]
The pavilions are made of burnt brick and generally lack windows. A metal sign assembly hangs in front of the west pavilion. The eastern corner of the east pavilion has a terracotta quoin. Belasco's apartment is on the fourth story above the eastern pavilion. On 44th Street, the apartment has quoins at either corner, a brick facade, and a Palladian window. Engaged columns and terracotta pilasters flank the center portion of the Palladian window, while multi-paned windows form the side portions of the window. An egg-and-dart molding runs above the apartment facade.[19]
The three center bays are delineated by a pair of Ionic terracotta pilasters at each end, as well as two single pilasters in the center. At the second story, each of the center bays contains tripartite casement windows. Above the windows are terracotta lintels, which are separated into three panels and are topped by a course of dentils. At the third story, each center bay has a round-arched window, surrounded by paneled terracotta blocks and topped by a keystone. A rectangular terracotta panel with eared corners is placed above each window. Above the cornice, a brick triangular pediment rises over the center three bays. There is an oval window at the center of the pediment, with a terracotta frame and keystones, as well as a cornice with modillions above the pediment.[19]
The westernmost portion of the 44th Street elevation is the office section, which is designed in a similar style as the main theater facade, though it is distinctly demarcated from the rest of the facade.
Interior
The interior color scheme was devised largely by Wilfred Buckland, who worked for Belasco's studios.
The theater was also mechanically advanced for its time, with heating, cooling, and ventilating systems. There were no radiators in the theater, but the floor contained a
Lobby
The entrance lobby is a nearly square space, accessed from the westernmost entrance on 44th Street.
The main entrance is from the south wall, above which are murals by Everett Shinn. The east wall contains doors to the auditorium.
Auditorium
The auditorium has a ground-level orchestra, boxes, two balconies, promenades on the three seating levels, and a large stage behind the proscenium arch. The auditorium's width is greater than its depth.[28] The auditorium has 1,016 seats.[30][31][32][a] These are divided into 527 seats at orchestra level, 283 on the first balcony, and 200 on the second balcony, as well as 24 box seats and 25 standing-only spots.[30][b] The orchestra was designed with 15 rows of seats. There were also twelve boxes in total.[16] The seats were all made by the American Seating Company.[37] Each seat was of heavy wood, upholstered in dark brown leather, and the back of each chair was embossed with an emblem of a bee.[6][36][37]
Seating areas
The auditorium is accessed from the ticket lobby at the southwest corner of the orchestra.[38] The rear (south) end of the orchestra contains four octagonal columns containing capitals of stained glass, which hold up the first balcony level, and emergency exit doors on the east wall.[39] The columns are placed behind the last row of seats.[27] Other than those columns, the two balcony levels are cantilevered, allowing all rows an unobstructed view of the stage.[16][27][40] Four pairs of exit doors on the rear wall of the orchestra lead directly to the central doors on the sidewalk.[14][15][39] There are gilded wall sconces next to and between two sets of the doors on the rear wall.[38]
The orchestra has a raked floor and painted wood paneling on the side walls.[39] Four boxes, each with six seats, flanked the stage at the orchestra level,[14][15] though these have since been removed.[28] Staircases on either side of the rear doors connect the orchestra to the first balcony level.[14][15][28] The orchestra level is wheelchair-accessible via the side doors, but the balcony levels can only be accessed by steps.[30] The balcony levels have wainscoting on both the side and rear walls, as well as gilded wall sconces on the side walls. The balconies have paneled bands on their undersides, with light fixtures underneath. Small stained-glass chandeliers hang over the second balcony. In front of the balconies are bosses topped by foliate bands.[41] Until 2010, the second balcony was accessed by a different entrance from the other seats. This arrangement was a vestige of an operation in which theater patrons were separated into two classes, an arrangement more common in West End theatre than Broadway theatre.[42]
On either side of the stage is a wall section, which originally contained two boxes on either balcony level. The first balcony boxes had been removed before the 1980s,[38] but they were restored in 2010.[42][43] The boxes are supported on console brackets and contain angled railings with foliate decoration; a colonnette separates each pair of boxes. The boxes' wall sections are flanked by octagonal columns with capitals of stained glass, which support an arch with a molding.[38] At the tops of the boxes' wall sections are murals depicting love.[23] A staircase connects the orchestra level to the boxes on the east wall.[28]
Other design features
Next to the boxes is the proscenium arch, which consists of a wide band surrounded by foliate patterns, as well as a molding with brackets.[28] The proscenium is small in comparison to other Broadway theaters, measuring about 32 ft (9.8 m) high and 30 ft (9.1 m) wide.[25][44] There is a mural within the arch, measuring 35 ft (11 m) long by 8 ft (2.4 m) tall, except at the center where the mural is only 6 ft (1.8 m) tall.[27] The mural has 29 pairs of figures, which depict emotions such as music, grief, tranquility, allurement, blind love, and poetry.[27][36] Directly in front of the stage was an orchestra pit measuring 32 feet across and 7 ft (2.1 m) deep.[14][15]
The stage itself originally measured 80 ft (24 m) wide and 27 ft (8.2 m) deep. In the 1910s, an adjustable apron measuring 5 ft (1.5 m) wide was built in front of the curtain, which could be used to widen the stage to 85 ft (26 m).[25][44][45] A gridiron was placed 76 ft (23 m) above the stage, while the fly galleries were on either side of the stage and 30 ft (9.1 m) above it.[45] At the center of the stage is an elevator trap measuring about 10 ft (3.0 m) deep and either 20 ft (6.1 m)[25][45] or 18 ft (5.5 m) wide.[46] The trap could raise or lower an entire set to either of two basement levels below the stage.[25] The lower basement level is 30 ft (9.1 m)[45] or 32 feet deep.[14][15][46] A platform with the preceding scene's props, built similarly to a large wagon, could be loaded onto the trap, then swapped in the basement with another platform loaded with the next scene's props.[25][47] Some 4,500 electric lights were distributed in the stage area.[14][15][25] The footlights on the stage were arranged in seven sections. There were five sets of "border lights", with 270 lamps in each, as well as 88 sockets in the fly galleries.[14][15][48][49] The switchboard had 65[14][15] or 75 dimmers.[48]
There is a large gilded-and-glass chandelier hanging from the auditorium's main ceiling.[50] The ceiling was designed with 22 stained-glass panels, each depicting two shields and being illuminated from above.[25][36][51] Twenty of these panels depicted Shakespeare in the dexter (right) position and various dramatists in the sinister (left) position.[14][15] Each of these panels depicted a different dramatist, for a total of 21 people.[6] The arms of Stuyvesant and Goethe were depicted in the shield to the left of the stage, while the arms of Greece and Shakespeare were depicted in those to the right. Concealed behind the stained-glass panels are 500 lamps.[14][15] This illumination was meant to give an impression of "real daylight".[10][23] George Keister designed the dome lighting.[49]
Other facilities
David Belasco intended the
The eastern portion of the theater contains a ten-room duplex apartment, which was built for Belasco in 1909.[53][54][55] The apartment's design complements the fourth story of the office wing to the west. The unit had its own small private elevator,[55] as well as a living room with a 30-foot ceiling.[56] The duplex contained eccentric items including a collection of ancient pieces of glass; a room containing Napoleon memorabilia, such as a strand of Napoleon's hair; and a bedroom designed with Japanese furnishings.[6][57][58] Also in the duplex were a dining room, a library leading to a dining room, large baths, and narrow passages.[57] Belasco had a collection of erotica and medieval art in a hidden Gothic-style room.[55][58][59] Scattered across the duplex were banners, rugs, books, and what one biographer called "a vast, confusing medley of collectors' treasures".[59] After Belasco died in 1931, Sardi's restaurant received some artifacts for its "Belasco Room".[55][58][60] Some books went to the New York Public Library, but most objects were auctioned off.[55][58] The Shubert Organization removed some decorations in the 1980s,[55] and air ducts were subsequently installed in the apartment.[43]
History
Times Square became the epicenter for large-scale theater productions between 1900 and
Belasco operation
Development and early years
What is now the Belasco Theatre was developed by Meyer R. Bimberg, who organized the Stuyvesant Theatre Company in 1906 with $275,000 in capital.[6] In June 1906, Belasco announced he would manage the theater and name it after Peter Stuyvesant, the New Amsterdam director-general.[8][9] The theater would be designed by George Keister and would cost about $300,000.[5][68] Keister filed plans with the New York City Department of Buildings in September 1906,[69][70] by which the excavation was nearly completed.[70][71] On December 5, 1906, several hundred guests including Bronson Howard, Blanche Bates, and Frances Starr attended the theater's cornerstone-laying ceremony, and the theater was formally dedicated as David Belasco's Stuyvesant Theatre.[72][73][74] The total cost of the theater was estimated at more than $750,000,[24][45][75] including $300,000 for the building itself.[6]
David Belasco's Stuyvesant Theatre opened on October 16, 1907, with the musical A Grand Army Man featuring Antoinette Perry.[76][77][78] One critic called the theater "the most complete and satisfactory playhouse in existence".[12] Another publication said that the interior was "much the most beautiful in New York".[12][79] Belasco served as the producer or director of almost 50 productions at the theater for the next two decades; the majority of these ran for at least a hundred performances.[80] Among the early productions at the theater were The Warrens of Virginia, which premiered in 1908,[81][82] and The Devil, which premiered simultaneously at the Stuyvesant and the Garden that year.[83][84] Also played at the Stuyvesant were The Fighting Hope (1908)[85][86] and The Easiest Way (1909).[85][87] During 1909, Belasco constructed the duplex apartment above the eastern part of the theater.[53][54] The same year, Belasco made an agreement with Klaw and Erlanger, enabling their respective firms to display products at each other's theaters.[12][88]
1910 to 1930
In the 1910s and 1920s, David Belasco was particularly involved in the theatrical development of several actresses, including Blanche Bates,
The Belasco hosted several other productions in the 1920s.[104] Lionel Atwill starred in Deburau during 1920,[98][107][108] and Kiki ran 580 performances the following year.[98][109] The Belasco hosted Laugh, Clown, Laugh! with Lionel Barrymore in 1923, as well as Tiger Cats with Katharine Cornell in 1924.[92][105] Lulu Belle was another successful production at the Belasco, with 461 performances.[98][110] The Belasco also hosted the musical Hit the Deck in 1927,[111] one of the few to take place in the theater.[92] David Belasco renovated the theater for the production of Mima.[112] Though he redesigned the proscenium arch's decorations and added metal sheathing to the balconies and orchestra boxes, he lost $250,000 on the productions.[98] The Bachelor Father (1928) and It's a Wise Child (1929) were among the other successful productions of the 1920s.[92] His last-ever production at the theater was Tonight or Never, which premiered in November 1930.[92][113][114] Since Belasco missed the original opening performance of Tonight or Never due to illness, a second one was hosted for his benefit in March 1931.[12][115]
After Belasco's death
David Belasco died in May 1931 after a long illness,
In late 1934, the Group Theatre started showing its productions at the Belasco, relocating Gold Eagle Guy from another theater.[131][132] The Group Theatre's subsequent productions included Awake and Sing!, Dead End, Golden Boy, and Rocket to the Moon.[83][133] Dead End had 684 performances before closing in 1937,[98][134][135] making it the Belasco's longest-running play, a record that stood for eight decades.[136] The following decade commenced with the production My Dear Children in 1940.[98][137][138] The play featured John Barrymore's last Broadway appearance and was generally negatively panned,[139] even though its $50,000 of advance ticket sales was among the largest such figure of any Broadway show.[83] More successful were Johnny Belinda (1940), Mr. and Mrs. North (1941), and Dark Eyes (1943).[137]
The Belasco Theatre Corporation, a syndicate headed by John Wildberg, purchased the Belasco in May 1944
Shubert operation
1950s to 1970s
The Belasco Theatre was sold in November 1948 for $442,000 in cash.
The Belasco reopened as a legitimate Broadway venue on November 5, 1953, with The Solid Gold Cadillac.[147][163] Other Broadway productions in the 1950s included The Flowering Peach (1954),[164][165] Will Success Spoil Rock Hunter? (1955),[147][166] and Nude with Violin (1957).[164][167] The Belasco's production of All the Way Home, which premiered in 1960,[168][169] won the Pulitzer Prize for Drama.[150] Other notable productions included Write Me a Murder (1961),[164][170] Seidman and Son (1962),[164][171] The Last Analysis (1964),[18][172] Inadmissible Evidence (1965),[147][173] and The Subject Was Roses (1966).[18][174] The Killing of Sister George, which was hosted at the Belasco in 1966,[175][176] was shown without incident, despite being more explicit about lesbian themes than Trio had two decades prior.[164] The 1969 production Does a Tiger Wear a Necktie? featured the Broadway debut of Al Pacino.[147][177]
With the decline of the Broadway-theater industry in the late 1960s, the quality of the Belasco's productions also decreased.[83] A New York Times article in 1975 said the theater had "not seen the opening night of a hit since 1966", though the Belasco was still the second-oldest remaining Broadway theater, after the Lyceum.[21] The off-Broadway production Oh! Calcutta!, a revue in which all the cast members were nude,[178] moved from the Eden Theatre to the Belasco in 1971.[179][180] Despite the quality of the productions, the Shubert Organization retained the Belasco in nearly original condition.[181] For the production of The Rocky Horror Show (1975),[179][182] the Shuberts added stands and temporarily removed some orchestra seating.[127][183] This was followed by a series of short runs including An Almost Perfect Person (1977),[178][184] The Goodbye People (1979),[185][186] and Hide and Seek (1979).[178][187] In the late 1970s, there were also plans to convert the Belasco to a cabaret venue.[183]
1980s and 1990s
Through the late 20th century, the Shuberts generally used the theater for the final runs of productions that had previously played at other Shubert venues.
During the 1980s, the Shuberts renovated the Belasco as part of a restoration program for their Broadway theaters.
The New York City Landmarks Preservation Commission (LPC) had started considering protecting the Belasco as an official city landmark in 1982,[200] with discussions continuing over the next several years.[201] The LPC designated both the facade and the interior as landmarks on November 4, 1987.[202][203] This was part of the LPC's wide-ranging effort in 1987 to grant landmark status to Broadway theaters.[204] The New York City Board of Estimate ratified the designations in March 1988.[205] The Shuberts, the Nederlanders, and Jujamcyn collectively sued the LPC in June 1988 to overturn the landmark designations of 22 theaters, including the Belasco, on the merit that the designations severely limited the extent to which the theaters could be modified.[206] The lawsuit was escalated to the New York Supreme Court and the Supreme Court of the United States, but these designations were ultimately upheld in 1992.[207]
The Shuberts, the Nederlanders, and Jujamcyn formed the Broadway Alliance in June 1990, wherein each company set aside one of its theaters to present dramas and comedies at reduced ticket prices.[208] The program covered the Belasco, Nederlander, and Walter Kerr theaters.[209] The Belasco hosted The Speed of Darkness in 1991.[181][210] The National Actors Theatre, led by Tony Randall, began showing productions at the Belasco later the same year.[178][211] The Shuberts had leased the Belasco to the National Actors Theatre so the venue could remain active as part of the agreement concerning the theater's air rights. The National Actors Theatre had a "favorable" lease agreement, paying only for taxes, fixed expenses, and utility use.[211] The group's inaugural program included revivals of The Crucible, The Little Hotel on the Side, and The Master Builder.[181][211] The National Actors Theatre's productions at the Belasco were mostly flops.[83] The Belasco was then used to host the puppet show A Little More Magic in 1994.[181][212] The Belasco then hosted other productions such as Hamlet, A Doll's House, Honour, and Ring Round the Moon in the late 1990s.[181] Feldman Equities considered buying the Belasco in 1996 but ultimately did not do so.[213]
2000s to present
The first musical to play the Belasco in the 2000s was
In mid-2009, after Joe Turner's Come and Gone closed, the Belasco closed for a renovation.
During November 2019, Netflix leased the theater to screen the Martin Scorsese film The Irishman.[177][225] For The Irishman, the Belasco's first film screening in its history, the theater was retrofitted with a production booth, surround sound, and a projection screen.[226] The theater staged Girl from the North Country in early 2020[227] before it closed on March 12, 2020, due to the COVID-19 pandemic.[228] The theater reopened on October 13, 2021, with Girl from the North Country.[229][230] That show closed in January 2022[231][232] before returning for a limited engagement from April to June.[233] Ain't No Mo' was staged at the Belasco during December 2022,[234][235] followed by Good Night, Oscar from April to August 2023.[236][237] The musical How to Dance in Ohio opened at the Belasco in December 2023 for a limited run.[238][239] The play Appropriate transferred to the Belasco in March 2024 following a run at the Hayes Theater.[240]
Alleged haunting
The Belasco Theater is the subject of an urban legend that David Belasco's ghost haunts the theater every night.[241][56][242] According to actors and backstage personnel, the ghost would be seen in clerical-like wear, sitting in an empty box during the opening night of a production.[56][181][243] Several actors have reported that the ghost would try to speak to them.[242][243] One caretaker reportedly also heard rattling from the chains of Belasco's private elevator, which had long since been abandoned.[21][181] Other accounts have described unexplained footsteps; doors and curtains moving randomly; and the elevator moving while not in use.[243][244][245] Sightings of a second ghost, called the "Blue Lady", have been reported at the theater.[242][243][245] This ghost, reported as an "icy cold blue mist",[242] was supposedly an actress that fell to her death in an elevator shaft.[245]
After Oh! Calcutta! played at the theater, the ghost of David Belasco reportedly stopped appearing.[241][60][178] By the 2000s, people reported that the ghost had reappeared.[241][136] In Hedwig and the Angry Inch, Hedwig briefly discusses the history of the Belasco and references the ghost of Belasco, claiming that if the ghost appears on a show's opening night, then the show is blessed. She then asks audience members in one of the boxes to tell her if the ghost appears.[246]
Notable productions
Productions are listed by the year of their first performance. This list only includes Broadway shows; it does not include programs broadcast from there.[33][247]
- 1908: The Devil[83][248]
- 1908: The Warrens of Virginia[81][82]
- 1910: Just a Wife[81][89]
- 1910: The Concert[93][249]
- 1916: Seven Chances[93][101]
- 1917:
- 1921: Deburau[250][108]
- 1926:
- 1927: Hit the Deck[111][251]
- 1932: The Truth About Blayds[122][252]
- 1932:
- 1935: Awake and Sing![254][255]
- 1935: Waiting for Lefty[256][257]
- 1935: Dead End[254][134]
- 1937: Golden Boy[258][259]
- 1938: Rocket to the Moon[258][260]
- 1940: Johnny Belinda[261][262]
- 1941: The Man with Blond Hair[263][264]
- 1941: Clash by Night[263][265]
- 1942: Nathan the Wise[263][266]
- 1942: Magic and Hello Out There![263][267]
- 1943: Dark Eyes[263][268]
- 1945: Kiss Them for Me[269][270]
- 1945: Home of the Brave[269][271]
- 1946: Truckline Cafe[272][273]
- 1946: Lysistrata[272][274]
- 1947: Sundown Beach[275][276]
- 1948: Me and Molly[277][278]
- 1948: The Madwoman of Chaillot[277][279]
- 1954: The Flowering Peach[275][165]
- 1955: Will Success Spoil Rock Hunter?[277][166]
- 1956: Fanny[280]
- 1957: The First Gentleman[281][282]
- 1957: Nude With Violin[281][167]
- 1958: Present Laughter[281][283]
- 1959: A Raisin in the Sun[281][284]
- 1960: All the Way Home[285][169]
- 1961: Write Me a Murder[286][170]
- 1964: The Seagull[286][287]
- 1964: The Crucible[286][288]
- 1965: Inadmissible Evidence[289][173]
- 1966: The Subject Was Roses[174][290]
- 1966: The Killing of Sister George[176][291]
- 1967: Dr. Cook's Garden[290][292]
- 1968: Don't Drink the Water[293]
- 1969: Does a Tiger Wear a Necktie?[291][294]
- 1971: Oh! Calcutta![180][291]
- 1975: The Rocky Horror Show[182][185]
- 1977: American Buffalo[295][296]
- 1979: The Goodbye People[185][186]
- 1980: Your Arms Too Short to Box with God[295][297]
- 1981: Ain't Misbehavin'[189][298]
- 1983: Marcel Marceau On Broadway[299][300]
- 1984: Accidental Death of an Anarchist[190][191]
- 1986: Romeo and Juliet[301]
- 1986: As You Like It[302]
- 1986: Macbeth[303]
- 1991: The Speed of Darkness[181][210]
- 1991: The Crucible[181][210]
- 1992: The Master Builder[181][304]
- 1995: Hamlet[181][305]
- 1997: A Doll's House[306][307]
- 1998: Honour[214][308]
- 1999: Ring Round the Moon[214][309]
- 2000: James Joyce's The Dead[214][215]
- 2001: Follies[214][216]
- 2002: Frankie and Johnny in the Clair de Lune[217][310]
- 2003:
- 2004: Dracula, the Musical[313][314]
- 2005: Julius Caesar[315][316]
- 2006: Awake and Sing![317][318]
- 2007: Journey's End[319][320]
- 2008:
- 2008: American Buffalo[323][324]
- 2009: Joe Turner's Come and Gone[325][326]
- 2010: Women on the Verge of a Nervous Breakdown[223][327]
- 2011: Kathy Griffin Wants a Tony[328][329]
- 2012: End of the Rainbow[330][331]
- 2012: Golden Boy[332][333]
- 2013: Twelfth Night and Richard III[334][335]
- 2014: Hedwig and the Angry Inch[224][336]
- 2016: Blackbird[337][338]
- 2017: The Glass Menagerie[339][340]
- 2017: Michael Moore: The Terms of My Surrender[341][342]
- 2017: Farinelli and the King[343][344]
- 2018: Gettin' the Band Back Together[345][346]
- 2018: Network[347][348]
- 2020: Girl from the North Country[227][349]
- 2022: Ain't No Mo'[234][235]
- 2023: Good Night, Oscar[236][237]
- 2023: How to Dance in Ohio[238][239]
- 2024: Appropriate[240]
See also
- List of Broadway theaters
- List of New York City Designated Landmarks in Manhattan from 14th to 59th Streets
References
Notes
Citations
- ^ a b Landmarks Preservation Commission 1987, p. 1.
- ^ a b Landmarks Preservation Commission Interior 1987, p. 1.
- ^ ISBN 978-0-19538-386-7.
- ^ a b c "111 West 44 Street, 10036". New York City Department of City Planning. Archived from the original on October 26, 2021. Retrieved March 25, 2021.
- ^ a b "Plans for Mr. Bimberg's Theatre in Times Square". The Real Estate Record: Real Estate Record and Builders' Guide. Vol. 77, no. 1996. June 16, 1906. p. 1142. Archived from the original on October 26, 2021. Retrieved November 4, 2021 – via columbia.edu.
- ^ ISBN 978-0-89659-458-6.
- ^ a b c d e f Landmarks Preservation Commission 1987, p. 12.
- ^ from the original on October 26, 2021. Retrieved October 26, 2021.
- ^ ProQuest 571849979.
- ^ from the original on October 26, 2021. Retrieved October 26, 2021.
- ^ Landmarks Preservation Commission 1987, pp. 12–13.
- ^ a b c d e f g h Landmarks Preservation Commission 1987, p. 13.
- ^ a b Landmarks Preservation Commission 1987, pp. 17–18.
- ^ ProQuest 1031383250. Archivedfrom the original on November 4, 2021. Retrieved November 4, 2021.
- ^ ProQuest 537447391.
- ^ a b c d e Architects' and Builders' Magazine 1907, p. 85.
- ^ a b Winter 1918, p. 238.
- ^ a b c d Landmarks Preservation Commission 1987, p. 17.
- ^ a b c d e f Landmarks Preservation Commission 1987, p. 18.
- ^ a b c Landmarks Preservation Commission Interior 1987, pp. 13–14.
- ^ from the original on October 27, 2021. Retrieved October 27, 2021.
- ^ Anthony, Ellen. "Passing Strange Broadway Ghost". Broadway Magazine. Archived from the original on December 30, 2010.
- ^ a b c d Landmarks Preservation Commission Interior 1987, p. 14.
- ^ a b Architects' and Builders' Magazine 1907, p. 89.
- ^ a b c d e f g h i j k Landmarks Preservation Commission Interior 1987, p. 15.
- ^ a b Landmarks Preservation Commission Interior 1987, p. 21.
- ^ a b c d e f Landmarks Preservation Commission Interior 1987, p. 13.
- ^ a b c d e f g Landmarks Preservation Commission Interior 1987, p. 22.
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- ^ "Passing Strange Broadway @ Belasco Theatre". Playbill. Archived from the original on October 26, 2021. Retrieved October 26, 2021.
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- ^ "American Buffalo Broadway @ Belasco Theatre". Playbill. Archived from the original on October 27, 2021. Retrieved October 26, 2021.
- ^ Itzkoff, Dave (November 20, 2008). "'American Buffalo' Goes The Way of the Buffalo". ArtsBeat. Archived from the original on October 29, 2021. Retrieved October 29, 2021.
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- ^ Heller, Scott (August 18, 2015). "'Hedwig and the Angry Inch' Sets Broadway Closing Date". ArtsBeat. Archived from the original on October 29, 2021. Retrieved October 29, 2021.
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Sources
- Belasco Theater (PDF) (Report). New York City Landmarks Preservation Commission. November 4, 1987.
- Belasco Theater Interior (PDF) (Report). New York City Landmarks Preservation Commission. November 4, 1987.
- Bloom, Ken (2007). The Routledge Guide to Broadway (1st ed.). New York: Routledge. pp. 27–28. ISBN 978-0-415-97380-9.
- Botto, Louis; Mitchell, Brian Stokes (2002). At This Theatre: 100 Years of Broadway Shows, Stories and Stars. New York; Milwaukee, WI: Applause Theatre & Cinema Books/Playbill. pp. 27–35. ISBN 978-1-55783-566-6.
- Marker, Lise-Lone (1975). David Belasco: Naturalism in the American Theatre. Princeton, New Jersey: Princeton University Press. ISBN 978-1-4008-7026-4.
- "The Stuyvesant Theatre, George Keister, Architect". Architects' and Builders' Magazine. Vol. 40, no. 2. November 1907. pp. 85–89.
- Winter, William (1918). The Life of David Belasco. Vol. 2. Jefferson Winter. ISBN 978-1-4047-7775-0.