On stage 6 productions, 17 years
| 1947 | High Button Shoes New Century Theatre · Original · directed by George Abbott | 727 perf. |
| 1954 | Peter Pan Winter Garden · Revival · directed by Jerome Robbins | 152 perf. |
| 1957 | Hotel Paradiso Henry Millers Theatre · Original | 108 perf. |
| 1958 | Jerome Robbins' Ballet: U.S.A. Alvin Theatre · Original | 44 perf. |
| 1961 | Sunday in New York Cort Theatre · Original · directed by Garson Kanin | 188 perf. |
| 1964 | Hello, Dolly! St. James Theatre · Original · directed by Gower Champion | 2,844 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 once3 names
| William Sumner | 2 productions |
| James White | 2 productions |
| Carleton Carpenter | 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. 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.
In the literature8 passages
- Act Two: “Pirate Song”(*) (Cyril Ritchard, Pirates); “A Princely Scheme” (aka “Hook’s Tango”) (***) (Cyril Ritchard, Pirates); “Indians!” (*) (Sondra Lee, Indians); “Wendy” (**) (Mary Martin, Lost Boys); “Another Princely Scheme” (***) (Cyril Ritchard, Pirates); “Neverland Waltz” (**) (Heller Halliday); “I Won’t Grow Up” (*) (Mary Martin,…ebooks/Dietz, Dan/Complete Book of 1950s Broadway Musicals, The - Dan Dietz.txt
- The work of petite Sondra Lee, a Jerome Robbins discovery from High Button Shoes (1947) who later scored as Tiger Lily in his production of Peter Pan (1954), had so impressed the director that he contacted her in Rome to offer her the part of shopkeeper’s assistant Minnie Fay. 64 “Gower said he had a role for me,” she recalls, “and I was…ebooks/Gilvey, John Anthony/Before the Parade Passes By_ Gower Champion and the Glorious American Musical - John Anthony Gilvey.txt
- Blonde, pint-sized Sondra Lee, whose flair for dancing and mischievous energy contributed much exuberance to the evening in the role of milliner’s assistant Minnie Fay, was well-paired with Jerry Dodge’s supernaturally agile and wildly comic Barnaby Tucker. 256 The caterwauling of Alice Play ten as Vandergelder’s niece, consternation of I…ebooks/Gilvey, John Anthony/Before the Parade Passes By_ Gower Champion and the Glorious American Musical - John Anthony Gilvey.txt
- Herman, Jerry. Hello, Dolly! Original Broadway cast recording with Carol Channing, David Burns, Charles Nelson Reilly, Eileen Brennan, and Sondra Lee. Cond. Shepard Coleman. Jacket notes Daniel Guss. RCA Victor compact disc, LSOD-1087: 1964, 2003. Based on Thornton Wilder’s The Matchmaker.ebooks/Gilvey, John Anthony/Before the Parade Passes By_ Gower Champion and the Glorious American Musical - John Anthony Gilvey.txt
- Cast: Phil Silvers, Nanette Fabray, Jack McCauley, Mark Dawson, Joey Faye, Lois Lee, Sondra Lee, Helen Gallagher, Nathaniel Frey, Johnny Stewart, Paul Godkinebooks/Green, Stanley/Broadway Musicals, Show By Show - Seventh Edition - Stanley Green & Cary Ginell.txt
- Cast: Mary Martin, Cyril Ritchard, Kathy Nolan, Margalo Gillmore, Joe E. Marks, Sondra Lee, Joseph Stafford, Robert Harringtonebooks/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.