On stage 12 productions, 34 years
| 1926 | The Great Temptations Winter Garden Theatre · Original · directed by J. J. Shubert | 223 perf. |
| 1930 | Sweet and Low Chanins 46th Street Theatre · Original · directed by Danny Dare | 184 perf. |
| 1931 | Colonel Satan Fulton Theatre · Original · directed by Stanley Logan | 17 perf. |
| 1931 | The School for Scandal Ethel Barrymore Theatre · Revival · directed by E. M. Blyth | 23 perf. |
| 1931 | The Wonder Bar Nora Bayes Theatre · Original · directed by William Mollison | 76 perf. |
| 1940 | Panama Hattie 46th Street Theatre · Original · directed by Edgar MacGregor | 501 perf. |
| 1943 | Ziegfeld Follies of 1943 Winter Garden Theatre · Original · directed by John Murray Anderson | 553 perf. |
| 1949 | Caesar and Cleopatra National Theatre · Revival · directed by Cedric Hardwicke | 151 perf. |
| 1951 | Getting Married Anta Playhouse · Revival · directed by Peter Frye | 16 perf. |
| 1958 | Back to Methuselah Ambassador Theatre · Revival · directed by Margaret Webster | 29 perf. |
| 1959 | The Fighting Cock Anta Playhouse · Original · directed by Peter Brook | 87 perf. |
| 1960 | Camelot Majestic Theatre · Original · directed by Moss Hart (Alan Jay Lerner uncredited) | 873 perf. |
Each row is a staging this name appears in the cast list of, read from the production record rather than from the person record. The person record names works instead, and a work cannot say which run somebody was in — that is how Elaine Stritch ends up filed under Show Boat 1927 when she was in the 1994 revival. No row here says what part was played, because no cast list records it.
Worked with more than once7 names
| Ronald Telfer | 2 productions |
| Roddy McDowall | 2 productions |
| Nadine Gae | 2 productions |
| Mckay Morris | 2 productions |
| John Buckmaster | 2 productions |
| Elvira Trabert | 2 productions |
| Don Weissmuller | 2 productions |
Both names in the same cast list, more than once. It is not evidence of a partnership — a long-running company puts the same forty people together every night — but it is where one would start looking. 6 of these names are not links because we hold no record behind them; the name is set from the identifier and its punctuation may be wrong.
In the literature8 passages
- Cast: Ethel Merman, Arthur Treacher, James Dunn, Rags Ragland, Pat Harrington, Frank Hyers, Phyllis Brooks, Betty Hutton, Joan Carroll, June Allyson, Lucille Bremer, Vera Ellen, Betsy Blairebooks/Green, Stanley/Broadway Musicals, Show By Show - Seventh Edition - Stanley Green & Cary Ginell.txt
- From the start of rehearsals, Arthur Treacher and his wife, Virginia, always called Ethel “Hattie,” and she began seeing a good deal of them after rehearsals. One evening she was invited to their apartment for cocktails, and there she met Treacher’s agent, William Smith, who worked for the Feldman-Blum Agency in Hollywood. Publicist Julia…ebooks/Kellow, Brian/Ethel Merman_ A Life - Brian Kellow.txt
- C AST : Ethel Merman (as Hattie Maloney), James Dunn, Joan Carroll, Betty Hutton, Arthur Treacher, Pat Harrington, Frank Hyers, Rags Ragland, Phyllis Brooksebooks/Kellow, Brian/Ethel Merman_ A Life - Brian Kellow.txt
- C AST : Bing Crosby, Ethel Merman (as Reno Sweeney), Charles Ruggles, Ida Lupino, Arthur Treacher, Grace Bradley, Margaret Dumontebooks/Kellow, Brian/Ethel Merman_ A Life - Brian Kellow.txt
- HARDWICKE, JOHN BUCKMASTER, LILL! PALMER, ARTHUR TREACHER, RALPH FORBES in “CAESAR AND CLEOPATRA”theatre-pdfs/A Pictorial History of the American Theatre, 1860-1985 (Blum).txt
- 929), BE LO w The Rattle of Pans, Gertie’s Hrst him and Buggies, Charlie co-starred Arthur Treacher and the songs were Cole Porter’s Hrst for the screen. (theatre-pdfs/Gertrude Lawrence - Sheridan Morley.txt
Passages naming this person, found by keyword across 178 books. A keyword match is not a biography, and a common name will pull in the wrong one.
What this page does not know
- What this person played. No cast list we hold records a character against a performer.
- Which of the credits above the roles on this record — actor — apply to. The roles sit on the person and never on a credit, so a director who also acted looks the same here as one who did not.