Theatre Register

Norman Panama

Shows · Norman Panama

Book Writer 1914–2003

Norman Kaye Panama (April 21, 1914 – January 13, 2003) was an American screenwriter, film producer and film director. He is known for his partnership with Melvin Frank and their work on films such as Mr. Blandings Builds His Dream House (1948), White Christmas (1954), and The Court Jester (1956). Without Frank, he directed films such as How to Commit Marriage (1969).

Also credited on1 work

Li’l Abner

These come off the person record, which names a work and not a production. So we can say this name is attached to the work and we cannot say which staging, or in what capacity. For a composer or a writer that is the whole career we hold; there is no cast list to find them in.

In the literature2 passages

  • Direction and Choreography : Michael Kidd; Producers : Norman Panama, Melvin Frank, and Michael Kidd; Scenery and Lighting : William and Jean Eckart; Costumes : Alvin Colt; Musical Direction : Lehman Engelebooks/Dietz, Dan/Complete Book of 1950s Broadway Musicals, The - Dan Dietz.txt
  • A TALENT FOR MURDER By Jerome Chodorov and Norman Panama; Director, Paul Aaron; Scenery, Oliver Smith; Costumes, David Murin, Bill Blass for Miss Colbert; Lighting, Ken Billington; Casting, Meg Simon, Fran Kumin; Production Assistant, John Petz; Special Effects, Chic Silber; Wardrobe, Midge Marmo; Wigs, Paul Huntley, Michael Wasula; Prese…theatre-pdfs/Theatre World/Theatre World, 1981-82 Season, v. 38 (Willis).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.
  • Any staging. This name appears in no production cast list we hold — 1,877 of 7,139 people are in that position, most of them writers, composers and designers rather than performers.
  • Which of the credits above the roles on this record — book writer — 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.

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