On stage 22 productions, 44 years
| 1910 | Our Miss Gibbs Knickerbocker Theatre · Original · directed by Thomas Reynolds | 57 perf. |
| 1911 | Jumping Jupiter New York Theatre · Original | 24 perf. |
| 1911 | The Quaker Girl Park Theatre · Original · directed by J. A. E. Malone | 248 perf. |
| 1914 | Lady Luxury Casino Theatre · Original · directed by J. H. Benrimo | 35 perf. |
| 1915 | Ziegfeld Follies New Amsterdam Theatre · Original · directed by Julian Mitchell, Leon Errol | 104 perf. |
| 1915 | Ziegfeld Follies of 1915 New Amsterdam Theatre · Original · directed by Julian Mitchell | 104 perf. |
| 1916 | Ziegfeld Follies of 1916 New Amsterdam Theatre · Original · directed by Ned Wayburn | 112 perf. |
| 1917 | Polly With a Past Belasco Theatre · Original | 315 perf. |
| 1919 | The Gold Diggers Lyceum Theatre · Original | 717 perf. |
| 1921 | Bluebeard's Eighth Wife Ritz Theatre · Original · directed by Lester Lonergan | 155 perf. |
| 1922 | The Awful Truth Henry Millers Theatre · Original | 144 perf. |
| 1924 | Grounds for Divorce Empire Theatre · Original | 127 perf. |
| 1925 | The Last of Mrs. Cheyney Fulton Theatre · Original · directed by Winchell Smith | 385 perf. |
| 1928 | Our Betters Henry Millers Theatre · Original · directed by Reginald Bach | 128 perf. |
| 1932 | Biography Guild Theatre · Original · directed by Philip Moeller | 267 perf. |
| 1934 | Biography Ambassador Theatre · Return-Engagement · directed by Philip Moeller | 16 perf. |
| 1934 | Ode to Liberty Lyceum Theatre · Original | 67 perf. |
| 1937 | Barchester Towers Martin Beck Theatre · Original | 40 perf. |
| 1938 | Once is Enough Henry Millers Theatre · Original | 105 perf. |
| 1941 | The Talley Method Henry Millers Theatre · Original · directed by Elmer Rice | 56 perf. |
| 1946 | The Fatal Weakness Royale Theatre · Original | 119 perf. |
| 1954 | The Confidential Clerk Morosco Theatre · Original · directed by E. Martin Browne | 117 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 once12 names
| Justine Johnstone | 3 productions |
| H. Reeves-Smith | 3 productions |
| Gladys Feldman | 3 productions |
| Carl Randall | 3 productions |
| Bernard Granville | 3 productions |
| Ann Pennington | 3 productions |
| Will West | 2 productions |
| Philip Merivale | 2 productions |
| Nancy Ryan | 2 productions |
| Melville Stewart | 2 productions |
| May Paul | 2 productions |
| Mae Murray | 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. 4 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: W.C. Fields, Ed Wynn, Ann Pennington, Mae Murray, Bernard Granville, George White, Bert Williams, Ina Claire, Justine Johnstone, Leon Errol, Carl Randall, Will West, Melville Stewartebooks/Green, Stanley/Broadway Musicals, Show By Show - Seventh Edition - Stanley Green & Cary Ginell.txt
- The model for the chic, sparkling heroines her friend S. N. Behrman wrote for Ina Claire to play in his high comedies Biography and End of Summer, Evie was to be adored; I joined the long line. She called me "Sargiedarling" (one word). High comedy wears a shimmering mask of wit; it turns on an emotional dime from laughter to heartbreak. S…ebooks/Laurents, Arthur/Original Story By_ A Memoir of Broadway and Hollywood - Arthur Laurents.txt
- George Backer was handsome, charming, and important-which was good; a political intellectual and the liberal editor of the then liberal New York Post-which was not good. Anathema, in fact, in Evie's world and George knew it. Like most men, he was attracted by the Ina Claire in Evie but he was a serious man, a very serious advocate of a Je…ebooks/Laurents, Arthur/Original Story By_ A Memoir of Broadway and Hollywood - Arthur Laurents.txt
- “Bought and Paid For.” Hazel Dawn skyrocketed to fame from “The Pink | Lady.” Mary Nash in “The Woman,” Ina Claire and Olga Petrova in “The Quaker Girl,” Ann Murdock in “Excuse Me,” Margaret Lawrence in “Over | Night,” Richard Bennett and Catherine Calvert in “The Deep Purple” all became stars of various magnitude.theatre-pdfs/A Pictorial History of the American Theatre, 1860-1985 (Blum).txt
- James Dale and “The Hairy Ape” with Louis Wolheim. Other popular plays were “Shore Leave” starring Frances Starr, “The Awful Truth” played by Ina Claire and Bruce McRae, “To The Ladies” played by Helen Hayes and Otto Kruger, “The Goldfish” by Marjorie Rambeau, Wilton Lackaye and Wilfred Lytell, “The Old Soak”theatre-pdfs/A Pictorial History of the American Theatre, 1860-1985 (Blum).txt
- galo Gillmore, Dudley Digges and Charlotte Granville. Among the stars, George Arliss appeared in “Old English,” Ina Claire in “Grounds For Divorce,” H. B. Warner in “Silence,”theatre-pdfs/A Pictorial History of the American Theatre, 1860-1985 (Blum).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.