Robert Moore

On stage 3 productions, 25 years

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 once2 names

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. 1 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.

Also credited on4 works

Promises, Promises
They’re Playing Our Song
Woman of the Year
Lorelei

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 literature8 passages

• But Simon did get audiences to care more about Chuck Baxter by having him talk to them, and director Robert Moore was wise to cast Orbach against type: for a change, he played a purely nice guy.ebooks/Filichia, Peter/Strippers, Showgirls, and Sharks - Peter Filichia.txt
• ROBERT MOORE DIRECTED Mart Crowley’s play, which broke ground in that it featured a virtually all-gay set of characters. “The timing was very right,” recalled Moore in New York in 1980 while promoting his film Chapter Two , by Neil Simon. “It was before, during, and after Stonewall … People heard the play was daring, insofar as you had al…ebooks/Hadleigh, Boze/Broadway Babylon - Boze Hadleigh.txt
• Robert Moore remembered, “Most people, including gays, came to see the play with an attitude of horrified fascination … I think Mart’s device of using a birthday party was inspired. It reveals these guys’ world and allows them to let it all hang out. It’s a party to which the audience is invited, as voyeurs and eavesdroppers.”ebooks/Hadleigh, Boze/Broadway Babylon - Boze Hadleigh.txt
• “There’s no question,” said Frederick Combs in 1986, “that the one from our play who went furthest professionally was our director,” Robert Moore. None of the cast, gay or het, achieved name recognition. Moore, though not a name director, went surprisingly far helming stage star vehicles—typically diva-centered (aha)—for the likes of Caro…ebooks/Hadleigh, Boze/Broadway Babylon - Boze Hadleigh.txt
• With: Lauren Bacall, Barry Nelson, Burt Brinckerhoff, Brenda Vaccaro, Robert Mooreebooks/Kissel, Howard/David Merrick - The Abominable Showman_ The Unauthorized Biography (Applause Books) - Howard Kissel.txt
• With a book by Peter Stone and directed by Robert Moore, Woman of the Year was based on the 1941 Tracy/Hepburn movie. After opening at the Palace Theater on March 29, 1981, the show became a Tony-winning vehicle for its star, Lauren Bacall, and for Kander and Ebb. The songwriters crafted the score for performers who were not major singing…ebooks/Lawrence, Greg/Colored Lights_ Forty Years of Words and Music, Show Biz, Collaboration, and All That Jazz - Greg Lawrence & John Kander & Fred Ebb.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.
• Birth or death year. Neither is on the record.
• Any portrait. 1,626 of 7,139 people have one, so this is the usual case rather than the exception.
• Which of the credits above the roles on this record — director — 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.