2002 Hall of Fame

2001 Theatre Hall of Fame

Monday, January 28, 2002
at
The Gershwin Theatre

Monday nights in the theatre district of Manhattan are almost blissful.
The 'football scrum' mentality along Broadway is noticeably absent. The lights are up. The theatres are closed. It's almost serene, or surreal, which ever way you care to look at it.

On this particular evening, the unseasonable hint of Spring mildness in the New York air made me even more aware of my surroundings, as I was driven calmly by Family San Juan to the Gershwin Theatre. I had been invited to attend the Theatre Hall of Fame annual ceremony. I was to be one of the younger members of the audience (and I am closer to 50 than 40!)

As the guest of Harriet Slaughter (Director of Labour Relations at the League of New York Theatres and Producers), I sat and marvelled at the scene around me. The Theatre Hall of Fame located inside the modern Gershwin Theatre, was created to honor those who have made outstanding contributions to the American Theatre. Chiselled in stone, towering in grand columns, their names trigger a smile, a sigh, a nod of recognition. Many of those 'billed above the title' names had gathered that evening to honor the 2001 Inductees. Elaine Stritch was meeting and greeting in her customary trade mark rainhat (is it a Burberry?) And in uncustomary Broadway manner this celebrated gathering had their curtain-up on time. Marian Seldes, our gracious and delightfully humourous Mistress of Ceremonies, begged us not to look at the floor. Shock, horror, there was no red carpet.

In fact the deck was being laid. The get-in for a new Broadway production of Oklahoma! was underway. Her audience of elder theatre statesmen rolled their eyes in unison and laughed. Been there, done that ............. many times, and set the scene for Carol Channing. Ms. Channing rose resplendant, glittering in a silver lame number to introduce Isabelle Stevenson, la Belle and the Chairman of the Board of the American Theatre Wing, founder of the Tony Awards and the first honoree of the evening.

Robert Brustein was next to take the stage, honoured in his capacity as the founding director of the Yale Repertory and American Repertory Theatres, and now as Professor of English at Harvard and drama critic of The New Republic.

Alvin Colt, one of the American theatre's leading costume designers, escorted us back to his childhood and the building of a theatre in the attic of the family home. He made his Broadway debut in 1944 with On the Town.

Peter Gennaro who received the Award posthumously, began his theatrical career as a featured dancer in the original Broadway productions of Guys and Dolls, The Pyjama Game, and Bells Are Ringing. As co-choreographer of West Side Story his choreographic career was launched.

The ceremony continued honouring those who have strengthened the backbone of the American Theatre industry, or perhaps in the case of drama critic, Henry Hewes helped straighten it. Writing for the Saturday Review, he was the first New York critic to regularly review plays on Broadway, off-Broadway, nationally and internationally with equal emphasis. As president of the Drama Desk from 1958-1976 he created the first annual award for achievement in the New York Theatre season regardless of whether it occurred on Broadway or off-Broadway.

My personal highlight of the evening was looking at, and listening to, Rosemary Harris as she honoured with both great respect and love, T. Edward Hambleton, or "T" as he is affectionately known in the theatre world. Ms Harris related those behind the scene stories of the founding of the Phoenix Theatre and the pioneering of the Off-Broadway movement. What a great art it is to reminisce in the presence of your peers. It is not told merely in words. It is expressed with a gesture; a slight turn of the head and shoulders, to acknowledge someone's presence; a pause, to allow for reflection; and it is all delivered with a graceful elegance that is very rarely seen nowadays.

Although many of the recipients were now in the twilight years of their creativity, they brought the experience and wisdom of those years to their acceptance speeches. The eyes may be weak, the body frail, but spineless in spirit they are not. How inspiring it is to listen to an articulate and entertaining 'thank you'. How uplifting to observe a poised and dignified bearing.

There were no standing ovations, just an eagerness to catch up with everyone else. Imagine the reunion class of 1941. Buses were waiting to take us to Sardis for dinner. Being the more junior members of the gathering, Harriet and I walked. I was perfectly placed at a table to people watch. The Hirschfield caricatures lining the walls mirrored the company in the room. Former Mayor David Dinkins was warmly shaking peoples hands. Harriet in her table hopping had asked the producer Roger Berlind whether she could accept the Award on his behalf if Kiss Me Kate won at the Olivier Awards in London. I think she made it to second reserve.

This was not a black tie affair, but it certainly was a no dress-down Friday gathering. I watched as stockinged legs and high heeled shoes carried swan-like necks and gentle gestures. I pondered as hearty laughs and cheeky asides accompanied well creased smiles and twinkling eyes. What is their secret?

by Anne-Marie, events correspondent

theNewYorkSeason