Sidney Lumet

On stage 8 productions, 13 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 once4 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. 3 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 on1 work

Nowhere To Go But Up

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 literature7 passages

• In his terrific book Making Movies , the great film director Sidney Lumet wrote, “In drama, the characters should determine the story. In melodrama the story determines the characters.” (31) In both cases you need strong characters. There’s nothing wrong with melodrama, but storytelling is usually more interesting, more satisfying, and mo…ebooks/Cuden, Steve/Beating Broadway_ How to Create Stories for Musicals That Get Standing Ovations - Steve Cuden.txt
• One of the most beguiling soundtrack scores in recent decades was by the English composer Richard Rodney Bennett for Sidney Lumet's treatment of the Agatha Christie mystery Murder on the Orient Express. Bennett has some eerily orchestrated chords that remind us that someone has been murdered, but the score is best remembered for a gloriou…ebooks/Engel, Lehman/Words with Music_ Creating the Broadway Musical Libretto - Lehman Engel.txt
• Sidney Lumet had this laugh—“Haa, ha!” “What kind of laugh is that?” I asked. “Is that a show business laugh?”ebooks/Frommer, Myrna Katz & Frommer, Harvey/It Happened on Broadway_ An Oral History of the Great White Way - Myrna Katz Frommer & Harvey Frommer.txt
• Eventually they agreed on Sidney Lumet, whose career alternated between gritty portraits of New York life (The Pawnbroker, Serpico, Prince of the City) and adaptations of theater, ranging from Long Day's Journey Into Night to The Seagull. Among Lumet's virtues, as far as Merrick was concerned, was his reputation for bringing in pictures o…ebooks/Kissel, Howard/David Merrick - The Abominable Showman_ The Unauthorized Biography (Applause Books) - Howard Kissel.txt
• Chapter Thirty: This chapter is based on interviews with David Brown, Irving "Swifty" Lazar, Sidney Lumet, Helen Nickerson and Billy Wilder, as well as contemporary newspaper accounts.ebooks/Kissel, Howard/David Merrick - The Abominable Showman_ The Unauthorized Biography (Applause Books) - Howard Kissel.txt
• Delays persisted to such an extent, Sidney Lumet had to drop out to keep his own film on schedule, and Sam Cohn kept an eye out for replacements. In dailies with Robert Young’s Rich Kids, Cohn tugged at John Lithgow’s sleeve. “Hey, could you do this role for Bobby?” Lithgow didn’t hesitate. “Fosse loved the character of Lucas Sergeant,” L…ebooks/Wasson, Sam/Fosse - Sam Wasson.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 — 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.