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This season Roundabout, remarkably, begins its fifth decade. Many subscribers are familiar with Roundabout's odyssey, from its beginnings in a Chelsea black box basement through bankruptcy to its Times Square success. Naturally, its history must be celebrated. For younger audiences who only know of the company's regular Tony® telecast appearances or its impressive roster of actors, directors, and designers who have made the acclaimed theatre a home, it's worth recalling the company's roots.
Roundabout was born out of two critical 20th century cultural movements that changed American theatre. The first was the birth of the not-for-profit theatre movement, which blossomed in the mid-1960s, bringing plays by O'Neill and O'Casey, Shaw and Shakespeare, as well as exciting new plays, to audiences around America in productions free from commercial imperatives. Not-for-profit theatres combined government, foundation, corporate, and individual resources to produce their seasons of modern masterpieces, evergreen classics, musicals, or new American plays. Whatever the mission–and Roundabout has come to embrace all of these–the goal was to create a stable yet invigorating relationship between theatregoers and theatre artists. In many ways Roundabout became New York City's very own resident theatre.
The other movement in which Roundabout found itself was the burgeoning off-Broadway and off-off Broadway explosion. Small theatres around the city were daring to cater to small, devoted audiences who were interested in the experimentation and innovation in the art form. Over the last 40 years, Roundabout has managed to merge these two movements, combining both stability and innovation, both Broadway pizzazz and courageous non-commercialism, so as the 21st century begins, Roundabout has grown into one of the largest not-for-profit theatres in the United States, producing both on Broadway and off, winning countless accolades and awards.
What has the company accomplished in its four decades of existence? Most obviously, successive generations of New York theatregoers have had the opportunity to see classic drama, fine American musicals, and new plays produced impeccably. The years can be measured in the rising cost of the theatre's total budget. But does that really offer a proper perspective?
Here's a broader view. The history of the United States, counted from its Declaration of Independence, is now just about 230 years old. That means that Roundabout has produced theatre for one-sixth of the nation's existence. It began with 400 subscribers in 1965 and now counts about 40,000. From a single 150-seat basement black box in Chelsea, Roundabout now inhabits two newly remodeled Broadway theatres in the Times Square area and the vital Harold and Miriam Steinberg Theatre Center off-Broadway. During that time, the world has changed a lot. For one thing, technology has made a terrific assault on audiences' attentions. VCRs, PCs, DVDs, CDs, MP3s–none of it existed in 1965. Yet Roundabout not only survived, the company has thrived.
Generations United
From Hamlet to Hedda Gabler, from Picnic to every major play by Harold Pinter, from Nine to 1776, Roundabout has offered generations of New Yorkers a dramatic education.
Roundabout debuted in 1965 with a production of The Father by August Strindberg, not your typically safe choice. Subsequently, Roundabout has produced the harrowing modern masterpiece twice, most recently in the mid-1990s in celebration of its 30th anniversary. Artistic Director Todd Haimes points to that fact as a symbol of Roundabout's devotion to its mission. Presented at the Criterion Center, Roundabout's first theatre district home, the production starred award-winning actor Frank Langella. It made little financial sense to revive Strindberg's psychological drama that influenced dramatists from O'Neill to Arthur Miller and David Mamet. But it's Roundabout's mission as a not-for-profit theatre company to produce high quality plays by great artists of Strindberg's caliber. What a gift. As Haimes says, “We did it in December, and people thought doing Strindberg at Christmas was a risky venture. But it became a complete, hugely acclaimed, 100 percent sellout for us. Funny thing.”
Artistic Risks and Rewards
The funny thing is Roundabout, throughout its 40 year run, has had many acclaimed hits with the most unlikely projects. Imagine deciding to revive great American musicals (which the company did under Haimes' leadership in the early 1990s) and then follow up a Tony Award® winning production of She Loves Me with Company and the historical musical about the signing of the Declaration of Independence, 1776? Or how about reviving Cabaret in an expensive (for a nonprofit theatre) Broadway production that called for a nightclub-sized space and actors to perform as the orchestra? Or what about last season's Twelve Angry Men, the latest example of a play no one would have dreamed of producing, with its large ensemble cast and 1950s courtroom–or in this case–jury room dramatics. Who would have guessed it could run for so many months? But Roundabout's stellar ensemble of actors, directed by Scott Ellis, breathed new life into a forgotten script, an act with many antecedents in the company's history.
In Roundabout's earliest years, modern classics were the theatre's bread-and-butter. But Roundabout always added lots of butter: Mrs. Warren's Profession with the inestimable Uta Hagen; Look Back in Anger with Malcolm McDowell; and one of Harold Pinter's most enigmatic works, Old Times, with Anthony Hopkins, Jane Alexander, and Marsha Mason. Every Roundabout theatregoer has his or her own list of, if not life-changing, then life-enhancing productions. Whether a subscriber or a single-ticket buyer, audiences in New York know that Roundabout is committed to bringing theatre worth seeing to the stage.
Roundabout is just as committed to its actors, playwrights, and directors. Kate Burton, who just appeared to enthusiastic reviews in The Constant Wife, first appeared with Roundabout almost 25 years ago in Brian Friel's Winners, which won the actress a Theatre World Award. Friel, one of Ireland's most acclaimed living playwrights, has often had Roundabout to thank for his American debut productions. Leading director Scott Ellis' Twelve Angry Men cast were Philip Bosco, who may have acted in more Roundabout plays than any other performer (ten!), and Boyd Gaines. They met each other during Roundabout's 1979-80 season, in A Month in the Country, for which Gaines also won a Theatre World Award. He then went on to appear in Roundabout's debut musical production, She Loves Me, as well as Company.
The Theatre World Award is given annually to notable “breakout” debut performances on the New York stage. Roundabout performers have won 20. In addition to Gaines and Burton, can you imagine New York theatre without the other remarkable winners like Antonio Banderas and Mary Stuart Masterson in the revival of the musical Nine and Natasha Richardson and Liam Neeson for their work in Eugene O'Neill's Anna Christie? The latter show makes Haimes particularly proud. It's the kind of less spectacular, neglected classic that he feels have always been Roundabout's responsibility and mission to produce. “It was considered second-rate O'Neill, but we did it with great artists and it redefined the play,” he says triumphantly. Anna Christie went on to win the 1993 Tony® for best revival.
One particularly poignant example of Roundabout's commitment to its artists occurred when Stephen Sondheim's Assassins, originally scheduled for production right after September 11th, was postponed, even after its sets had been designed and its cast assembled. Eventually, the show did go on, produced in Studio 54, garnering five Tony Awards®, including Best Revival of a Musical. Director Joe Mantello, along with colleagues Scott Elliott, Scott Ellis, and Michael Mayer not only made career leaps at Roundabout but continually return.
Follow the Leaders
How can a theatre company make such commitments? It can only do so because of its leadership. Roundabout's founder Gene Feist stayed with the company for 25 years. Around the 18th year, he brought on Todd Haimes as Managing Director, who coaxed Ellen Richards to follow him and serve as General Manager. Todd brought Julia Levy, Executive Director, on board six years later. Although Richards recently retired after 20 years, this trio guided Roundabout through one of the most astounding expansions in the history of American theatres, moving a nearly bankrupt company from Chelsea to Union Square and then Times Square. This season, Roundabout welcomes former Manhattan Theatre Club General Manager Harold Wolpert as the company's new Managing Director.
When Haimes began work in 1983, the theatre was an admired off-Broadway company producing out of a renovated movie house on 23rd Street and a black box basement space on 26th. But for all the accruing critical acclaim under founder Gene Feist, financially the organization was a flop. Haimes, and Ellen Richard, went to work trying to erase a $2.5 million deficit on a $2.5 million annual budget. The theatre had been working under Chapter 11 bankruptcy protection for about five years. Thanks to the generosity of board member Christian C. Yegen and his family, though, Roundabout was able to keep its doors open and weather this financial crisis.
In his 22 years at Roundabout, first as managing director (1983-1989) and for the last 16 as head of the entire organization, Haimes has seen Roundabout's annual budget top $30 million and its subscriber base almost triple, from 15,000 to 40,000. And the company has developed one of the most highly regarded education departments in the American theatre, with an annual budget more than half the size as the entire company's was when Haimes first came to the rescue.
Haimes' sense of foresight, of planning for a future seemingly only visible to him, has always impressed long-time board member Robert G. Donnalley Jr. “Todd's always looking forward, over the edge,” he says. “I was scared to death that the subscribers wouldn't follow us to the Criterion Center, but they did. And he initiated the move to the American Airlines Theatre before we knew we were going to lose the Criterion. Same thing with finding the 46th Street theatre and ownership of Studio 54: he's looking way ahead of the curve.”
Beyond the economic and real estate risks Haimes has confronted–raising tens of millions of dollars to move to 42nd Street from the Criterion, for instance–he seems most satisfied by the aesthetic risks he's taken since assuming artistic control after Gene Feist retired in 1989. He's particularly pleased to have expanded the mission of the Roundabout to include classic musicals and new plays.
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PUTTING NAMES TO FACES
(top to bottom, left to right)
Juliette Binoche in Betrayal; Alan Cumming in Cabaret; Helen Mirren and Ron Rifkin in A Month in the Country**; Jason Robards in Molly Sweeny**; Ashley Judd in Picnic*; Viola Davis and Russell Hornsby in Intimate Apparel; B.D. Wong in Pacific Overtures; Uta Hagen in Mrs. Warren's Profession*; Tyrone Giordano in Big River; Anthony Hopkins in Old Times*; Martin Short in Little Me; the cast of Assassins; Christopher Plummer in No Man's Land**; Allison Janney in A View from the Bridge; Liam Neeson in Anna Christie*; Stockard Channing in Joe Egg*; Swoozie Kurtz in The Mineola Twins; the cast of Twelve Angry Men; Anthony LaPaglia in A View from the Bridge; Holly Hunter in Impossible Marriage; the cast of She Loves Me**; Dearbhla Molloy in Juno and the Paycock; John Cullum in All My Sons; Jennifer Tilly in The Women; Anthony Mackie in McReele; Brent Spiner in 1776; Kate Burton and Lynn Redgrave in The Constant Wife; Brian Bedford in Tartuffe; Antonio Banderas in Nine; the cast of Company**; Matthew Broderick in The Foreigner; Danny Glover in “Master Harold” ...and the boys; Phylicia Rashad and Michael McElroy in Blue**; Natasha Richardson in Cabaret; Eddie Izzard in A Day in the Death of Joe Egg; Alec Baldwin and Anne Heche in Twentieth Century; Nathan Lane in The Man Who Came to Dinner; Chris O'Donnell in The Man Who Had All the Luck; Patrick Stewart in The Caretaker; Frank Langella in The Father.
All photos by Joan Marcus except *by Martha Swope and **by Carol Rosegg.
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