On stage 9 productions, 41 years
| 1942 | Rosalinda 44th Street Theatre · Original · directed by Felix Brentano | 611 perf. |
| 1942 | The New Moon Carnegie Hall · Revival · directed by John Pierce | 24 perf. |
| 1943 | The Merry Widow Majestic Theatre · Revival · directed by Felix Brentano | 322 perf. |
| 1944 | Catherine Was Great Shubert Theatre · Original · directed by Roy Hargrave | 191 perf. |
| 1946 | The Would-Be Gentleman Booth Theatre · Revival · directed by John Kennedy | 77 perf. |
| 1950 | Bless You All Mark Hellinger Theatre · Original · directed by John C. Wilson | 84 perf. |
| 1950 | Happy as Larry Coronet Theatre · Original · directed by Burgess Meredith | 3 perf. |
| 1962 | The Perfect Setup Cort Theatre · Original · directed by Lamont Johnson | 5 perf. |
| 1983 | La Cage aux Folles Palace Theatre · Original · directed by Arthur Laurents | 1,761 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 once5 names
| Robert Tower | 3 productions |
| Lester Towne | 2 productions |
| Joan Wheatley | 2 productions |
| Everett West | 2 productions |
| Benjamin Siegel | 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. 5 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
- Act One: “No One Loves Me” (Burgess Meredith); “Without a Stitch” (Maurice Edwards, Frank Milton, Harry Allen, Henry Calvin, William Hogue, Jack Warner, Fin Olsen); “Now and Then” (Burgess Meredith); “October” (Marguerite Piazza); “Mrs. Larry, Tell Me This” (Gene Barry, Barbara Perry); “A Cup of Tea” (Burgess Meredith, Barbara Perry, Marg…ebooks/Dietz, Dan/Complete Book of 1950s Broadway Musicals, The - Dan Dietz.txt
- Act Two: “It’s Pleasant and Delightful” (Gene Barry); “The Dirty Dog” (Maurice Edwards, Frank Milton, Harry Allen, Henry Calvin, William Hogue, Jack Warner, Fin Olsen); “The Flatulent Ballad” (Irwin Corey); “The Loyalist Wife” (Barbara Perry); “Oh, Mrs. Larry” (Maurice Edwards, Frank Milton, Harry Allen, Henry Calvin, William Hogue, Jack…ebooks/Dietz, Dan/Complete Book of 1950s Broadway Musicals, The - Dan Dietz.txt
- The original production had had George Hearn’s Albin and Gene Barry’s Georges walk off arm in arm at the end of the show. True, in the revival that had played five years earlier, Gary Beach and Daniel Davis kissed—just as Kelsey Grammer and Douglas Hodge did here. But Hodge threw himself into it with an extra zest. So even those who came…ebooks/Filichia, Peter/B007L4OWCU EBOK - Peter Filichia.txt
- Cast: Jan Kiepura, Marta Eggerth, Melville Cooper, Ruth Matteson, Robert Rounseville, David Wayne, Ralph Dumke, Gene Barry, Lubov Roudenko, Milada Mladovaebooks/Green, Stanley/Broadway Musicals, Show By Show - Seventh Edition - Stanley Green & Cary Ginell.txt
- Cast: George Hearn, Gene Barry, Jay Garner, John Weiner, Elizabeth Parrish, Leslie Stevens, William Thomas Jr., Merle Louiseebooks/Green, Stanley/Broadway Musicals, Show By Show - Seventh Edition - Stanley Green & Cary Ginell.txt
- La Cage aux Folles. The “Masculinity” number with Gene Barry and George Hearn. (Martha Swope)ebooks/Green, Stanley/Broadway Musicals, Show By Show - Seventh Edition - Stanley Green & Cary Ginell.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.