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Belasco Theatre

January 19, 2024

"Stuyvesant Theatre" redirects here. For the movie theater on Second Avenue formerly known as the Stuyvesant Theatre, see Village East by Angelika. For the theater in Los Angeles, see Belasco Theatre (Los Angeles). For the theater on 42nd Street formerly known as the Belasco Theatre, see New Victory Theater.

The Belasco Theatre is a Broadway theater at 111 West 44th Street, between Seventh Avenue and Sixth Avenue, in the Theater District of Midtown Manhattan in New York City. Originally known as the Stuyvesant Theatre, it was built in 1907 and designed by architect George Keister for impresario David Belasco. The Belasco Theatre has 1,016 seats across three levels and has been operated by The Shubert Organization since 1948. Both the facade and interior of the theater are New York City landmarks.

Belasco Theatre
Stuyvesant Theatre
Seen in 2022
Address111 West 44th Street
Manhattan, New York City
United States
Coordinates40°45′24″N 73°59′02″W / 40.75667°N 73.98389°W / 40.75667; -73.98389
OwnerThe Shubert Organization
DesignationBroadway
TypeBroadway
Capacity1,016
ProductionHow to Dance in Ohio
Construction
OpenedOctober 16, 1907
ArchitectGeorge Keister
Website
shubert.nyc/theatres/belasco/
DesignatedNovember 4, 1987[1]
Reference no.1317[1]
Designated entityFacade
DesignatedNovember 4, 1987[2]
Reference no.1318[2]
Designated entityLobby and auditorium interior

The main facade on 44th Street is made of red brick in Flemish bond, with terracotta decorative elements. The ground floor contains the entrance, while the upper stories are asymmetrical and topped by a pediment. Belasco and his company had their offices in the western wing of the theater. A ten-room duplex penthouse apartment occupies the top of the eastern wing and contained Belasco's collection of memorabilia. The interior features Tiffany lighting and ceiling panels, rich woodwork, and expansive murals by American artist Everett Shinn. The auditorium consists of a ground-level orchestra and two overhanging balconies, with boxes at the second balcony level.

The theater was developed by Meyer R. Bimberg and operated by David Belasco as the Stuyvesant Theatre. It opened on October 16, 1907, and was expanded in 1909 with Belasco's apartment. Belasco renamed the venue for himself in 1910. After his death in 1931, Katharine Cornell and then the wife of playwright Elmer Rice leased the space. The Shuberts bought the theater in 1948 and leased it to NBC for three years before returning it to legitimate use in 1953. Through the late 20th century, despite a decline in the quality of productions hosted at the Belasco, it continued to show Broadway plays and musicals. The theater was renovated multiple times over the years, including in the 1920s, 1970s, and 2000s.

Site edit

The Belasco Theatre is on 111 West 44th Street, on the north sidewalk between Seventh Avenue and Sixth Avenue, near Times Square in the Theater District of Midtown Manhattan in New York City.[3][4] The rectangular land lot covers 12,552 sq ft (1,166.1 m2),[4] with a frontage of 125 ft (38 m) on 44th Street and a depth of 100.42 ft (31 m).[4][5] On the same block, the Hotel Gerard, Hudson Theatre, and Millennium Times Square New York are to the west. Other nearby buildings include the Algonquin Hotel to the east, 1166 Avenue of the Americas to the northeast, the Americas Tower and High School of Performing Arts to the north, the Lyceum Theatre and 1540 Broadway to the northwest, 1500 Broadway to the southwest, and the Chatwal New York hotel and the Town Hall to the south.[4]

Design edit

The Belasco Theatre was designed by George Keister, the architect of the neighboring Hotel Gerard, in the neo-Georgian style. It was constructed from 1906 to 1907 as the Stuyvesant Theatre and was originally operated by David Belasco.[3][6] The neo-Georgian style was selected because a similar style was used on many early government buildings of New York City.[6] The original name was a homage to Peter Stuyvesant, a director-general of New Amsterdam, the 17th-century Dutch colony that later became New York City.[6][7][8] Compared to its contemporaries, the Belasco is relatively small.[6] A wing for offices and dressing rooms, separated from the rest of the theater by a thick wall, was constructed on the west side of the theater.[9][10] The eastern part of the theater is topped by a private duplex apartment built in 1909.[11]

Facade edit

The primary elevation of the facade faces south on 44th Street and is made of red brick in Flemish bond, with terracotta decorative elements. It is split into an office section to the west and the main theater section to the east. The side walls are faced in plain brick.[12] The 44th Street elevation is about 60 ft (18 m) tall,[13][14] while the rear elevation is cited as being 80 ft (24 m)[13] or 90 ft (27 m) tall.[14] To comply with fire regulations at the time of the Belasco's construction, the theater is surrounded by an alley measuring 10 ft (3.0 m) wide.[9][11][14][15] Due to the presence of the alley, the theater only measures 105 by 100 ft (32 by 30 m).[13][14][15][16]

Ground story edit

On 44th Street, the ground-story facade consists of a water table made of granite, above which is burnt brick in Flemish bond. There are four pairs of doors at the center of the facade, above which is an entablature made of terracotta. These doors are separated by terracotta pilasters in the Tuscan style. On either side of the central doorways are wood-framed display boards.[17]

The facade's westernmost portion corresponds to the office stories and has a granite stoop with two steps. The steps are flanked by iron railings and lead to two pairs of wood-and-glass doors, which connect to the ticket lobby. These doorways are set within the same opening, with Doric terracotta pilasters on either side and an entablature above. A metal gate leads to an alley on the west.[12] The easternmost section contains a stoop with three steps, which lead to a pair of wood-and-glass doors flanked by pilasters; this provides access to the balcony.[18] A large metal canopy hangs above the doorways.[17] An egg-and-dart molding and a Greek key frieze runs above the ground story on 44th Street.[18]

Upper stories edit

Details of the 44th Street elevation
 
East end pavilion
 
One of the center bays
 
The office section at far west

The upper stories are asymmetrical.[6] The office section of the theater is at the extreme western end of the facade, while a pair of pavilions flanks three vertical bays on the rest of the facade. The entire third story is topped by an entablature with a molded frieze, a set of dentils, and a heavy cornice with modillions. The cornice wraps around to the side elevations of the facade.[18]

The pavilions are made of burnt brick and generally lack windows. A metal sign assembly hangs in front of the west pavilion. The eastern corner of the east pavilion has a terracotta quoin. Belasco's apartment is on the fourth story above the eastern pavilion. On 44th Street, the apartment has quoins at either corner, a brick facade, and a Palladian window. Engaged columns and terracotta pilasters flank the center portion of the Palladian window, while multi-paned windows form the side portions of the window. An egg-and-dart molding runs above the apartment facade.[18]

The three center bays are delineated by a pair of Ionic terracotta pilasters at each end, as well as two single pilasters in the center. At the second story, each of the center bays contains tripartite casement windows. Above the windows are terracotta lintels, which are separated into three panels and are topped by a course of dentils. At the third story, each center bay has a round-arched window, surrounded by paneled terracotta blocks and topped by a keystone. A rectangular terracotta panel with eared corners is placed above each window. Above the cornice, a brick triangular pediment rises over the center three bays. There is an oval window at the center of the pediment, with a terracotta frame and keystones, as well as a cornice with modillions above the pediment.[18]

The westernmost portion of the 44th Street elevation is the office section, which is designed in a similar style as the main theater facade, though it is distinctly demarcated from the rest of the facade.[6] which is flanked on either side by terracotta quoins. The second story of the office section has a tripartite window with a terracotta lintel. The third story of the offices contains a Palladian window, which consists of an arched window flanked by rectangular windows on each side. The Palladian window has Ionic terracotta pilasters and a terracotta keystone above the arch. Above the entablature, the fourth story of the office section has quoins at either corner. There are three arched windows at the fourth story, surrounded by terracotta frames and topped by terracotta keystones. The windows are separated by Ionic pilasters, supporting a frieze and egg-and-dart molding of the same material.[18]

Interior edit

The interior color scheme was devised largely by Wilfred Buckland, who worked for Belasco's studios.[13][14][19] Everett Shinn designed murals for the theater.[19][20] The Belasco was outfitted with the most advanced stagecraft tools available including extensive lighting rigs, a hydraulics system, and vast wing and fly space. Like the neighboring Lyceum Theatre, it was built with ample workshop space underneath the stage.[21] Tiffany Studio designed lighting fixtures throughout the theater,[22] which were executed by theatrical-lighting specialists Nimis & Nimis.[22][23] Nineteen emergency exits lead from the auditorium onto the street or the alley, including ten from orchestra level. According to news reports published when the theater opened, the entire theater could be evacuated in three minutes.[9][11][24]

The theater was also mechanically advanced for its time, with heating, cooling, and ventilating systems. There were no radiators in the theater, but the floor contained a plenum system with 350 ducts. The plenum system used to evenly distribute the heat from two boilers, either of which could heat the theater on its own. When a sufficient level of heat had been reached, the heat was shut off and fresh air was distributed through the plenum system, using large blowers. Air outflow passed through hidden openings in the ceiling of the auditorium. In addition, the cellar contained a fire pump capable of 250 U.S. gal (950 L; 210 imp gal) per minute, supplied by a 15,000 U.S. gal (57,000 L; 12,000 imp gal) water tower on the roof and a 10,000 U.S. gal (38,000 L; 8,300 imp gal) reserve tank in the basement. Below the stage was a mezzanine with heating coils. Each side of the theater had three separate sets of fire escapes, and the western side had a marble-and-stone staircase leading directly into the alley there.[13][14]

Lobby edit

 
Box office

The entrance lobby is a nearly square space, accessed from the westernmost entrance on 44th Street.[16][25] John Rapp designed the lobby.[15][26] It originally was decorated in a walnut-brown and gold color scheme,[13][14][19] but this was changed to black and gold sometime in the 20th century.[27] The floor is made of mosaic tiles and terrazzo. The walls of the lobby are wainscoted in Rouge Duranche marble, with paneling and Corinthian pilasters above the wainscoting. Partway up the wall is an entablature around the entire room, which contains a cornice with modillions. The wall surfaces above the entablature are designed to resemble leather. The side-wall panels have gilded sconces, and the ceiling has a chandelier suspended from it.[28]

The main entrance is from the south wall, above which are murals by Everett Shinn. The east wall contains doors to the auditorium.[28] At the center of the north wall, directly opposite the entrance doors, is an ornate box office within an arched opening. The main ticket window is flanked by Corinthian-style colonnettes on either side, which support an arched pediment; there are also arched panels to the left and right of the ticket window. In addition, there are Corinthian columns placed on marble bases on either side of the box office opening. Above the opening is the cornice and a carved aedicule with a pediment and a brass figure.[25] A brass standing rail originally was placed in front of the ticket window but was removed.[27]

Auditorium edit

The auditorium has a ground-level orchestra, boxes, two balconies, promenades on the three seating levels, and a large stage behind the proscenium arch. The auditorium's width is greater than its depth.[27] The auditorium has 1,016 seats.[29][30][31][a] These are divided into 527 seats at orchestra level, 283 on the first balcony, and 200 on the second balcony, as well as 24 box seats and 25 standing-only spots.[29][b] The orchestra was designed with 15 rows of seats. There were also twelve boxes in total.[15] The seats were all made by the American Seating Company.[36] Each seat was of heavy wood, upholstered in dark brown leather, and the back of each chair was embossed with an emblem of a bee.[35][36]

Seating areas edit
 
Auditorium as seen from orchestra level

The auditorium is accessed from the ticket lobby at the southwest corner of the orchestra.[37] The rear (south) end of the orchestra contains four octagonal columns containing capitals of stained glass, which hold up the first balcony level, and emergency exit doors on the east wall.[38] The columns are placed behind the last row of seats.[26] Other than those columns, the two balcony levels are cantilevered, allowing all rows an unobstructed view of the stage.[15][26][39] Four pairs of exit doors on the rear wall of the orchestra lead directly to the central doors on the sidewalk.[13][14][38] There are gilded wall sconces next to and between two sets of the doors on the rear wall.[37]

The orchestra has a raked floor and painted wood paneling on the side walls.[38] Four boxes, each with six seats, flanked the stage at the orchestra level,[13][14] though these have since been removed.[27] Staircases on either side of the rear doors connect the orchestra to the first balcony level.[13][14][27] The orchestra level is wheelchair-accessible via the side doors, but the balcony levels can only be accessed by steps.[29] The balcony levels have wainscoting on both the side and rear walls, as well as gilded wall sconces on the side walls. The balconies have paneled bands on their undersides, with light fixtures underneath. Small stained-glass chandeliers hang over the second balcony. In front of the balconies are bosses topped by foliate bands.[40] Until 2010, the second balcony was accessed by a different entrance from the other seats. This arrangement was a vestige of an operation in which theater patrons were separated into two classes, an arrangement more common in West End theatre than Broadway theatre.[41]

 
Left-hand boxes in the Belasco

On either side of the stage is a wall section, which originally contained two boxes on either balcony level. The first balcony boxes had been removed before the 1980s,[37] but they were restored in 2010.[41][42] The boxes are supported on console brackets and contain angled railings with foliate decoration; a colonnette separates each pair of boxes. The boxes' wall sections are flanked by octagonal columns with capitals of stained glass, which support an arch with a molding.[37] At the tops of the boxes' wall sections are murals depicting love.[22] A staircase connects the orchestra level to the boxes on the east wall.[27]

Other design features edit

Next to the boxes is the proscenium arch, which consists of a wide band surrounded by foliate patterns, as well as a molding with brackets.[27] The proscenium is small in comparison to other Broadway theaters, measuring about 32 ft (9.8 m) high and 30 ft (9.1 m) wide.[24][43] There is a mural within the arch, measuring 35 ft (11 m) long by 8 ft (2.4 m) tall, except at the center where the mural is only 6 ft (1.8 m) tall.[26] The mural has 29 pairs of figures, which depict emotions such as music, grief, tranquility, allurement, blind love, and poetry.[26][35] Directly in front of the stage was an orchestra pit measuring 32 feet across and 7 ft (2.1 m) deep.[13][14]

The stage itself originally measured 80 ft (24 m) wide and 27 ft (8.2 m) deep. In the 1910s, an adjustable apron measuring 5 ft (1.5 m) wide was built in front of the curtain, which could be used to widen the stage to 85 ft (26 m).[24][43][44] A gridiron was placed 76 ft (23 m) above the stage, while the fly galleries were on either side of the stage and 30 ft (9.1 m) above it.[44] At the center of the stage is an elevator trap measuring about 10 ft (3.0 m) deep and either 20 ft (6.1 m)[24][44] or 18 ft (5.5 m) wide.[45] The trap could raise or lower an entire set to either of two basement levels below the stage.[24] The lower basement level is 30 ft (9.1 m)[44] or 32 feet deep.[13][14][45] A platform with the preceding scene's props, built similarly to a large wagon, could be loaded onto the trap, then swapped in the basement with another platform loaded with the next scene's props.[24][46] Some 4,500 electric lights were distributed in the stage area.[13][14][24] The footlights on the stage were arranged in seven sections. There were five sets of "border lights", with 270 lamps in each, as well as 88 sockets in the fly galleries.[13][14][47][48] The switchboard had 65[13][14] or 75 dimmers.[47]

There is a large gilded-and-glass chandelier hanging from the auditorium's main ceiling.[49] The ceiling was designed with 22 stained-glass panels, each depicting two shields and being illuminated from above.[24][35][50] Twenty of these panels depicted Shakespeare in the dexter (right) position and various dramatists in the sinister (left) position. The arms of Stuyvesant and Goethe were depicted in the shield to the left of the stage, while the arms of Greece and Shakespeare were depicted in those to the right. Concealed behind the stained-glass panels are 500 lamps.[13][14] This illumination was meant to give an impression of "real daylight".[9][22] George Keister designed the dome lighting.[48]

Other facilities edit

 
Backstage

David Belasco intended the backstage areas to be clean and comfortable, even prohibiting stagehands from spitting onto the floor.[24][51] There were chairs behind the stage for actors to rest, as well as padded floors behind the proscenium so actors could walk on and off stage without making noise.[24] Adjoining the auditorium was a six-story wing for dressing rooms. Each of the dressing rooms were arranged similarly to contemporary residential apartments, with concrete floors natural light, ventilation, hot and cold water, and a shower and bathtub on each floor. There were thirty-five rooms in total.[13][14] The dressing rooms overlooked the side and rear alleys for natural light exposure, and the eastern wall was a thick fireproof wall separating the dressing rooms from the rest of the theater.[24]

The eastern portion of the theater contains a ten-room duplex apartment, which was built for Belasco in 1909.[52][53][54] The apartment's design complements the fourth story of the office wing to the west. The unit had its own small private elevator,[54] as well as a living room with a 30-foot ceiling.[55] The duplex contained eccentric items including a collection of ancient pieces of glass; a room containing Napoleon memorabilia, such as a strand of Napoleon's hair; and a bedroom designed with Japanese furnishings.[56][57] Also in the duplex were a dining room, a library leading to a dining room, large baths, and narrow passages.[56] Belasco had a collection of erotica and medieval art in a hidden Gothic-style room.[54][57][58] Scattered across the duplex were banners, rugs, books, and what one biographer called "a vast, confusing medley of collectors' treasures".[58] After Belasco died in 1931, Sardi's restaurant received some artifacts for its "Belasco Room".[54][57][59] Some books went to the New York Public Library, but most objects were auctioned off.[54][57] The Shubert Organization removed some decorations in the 1980s,[54] and air ducts were subsequently installed in the apartment.[42]

History edit

Times Square became the epicenter for large-scale theater productions between 1900 and the Great Depression.[60] Manhattan's theater district had begun to shift from Union Square and Madison Square during the first decade of the 20th century.[61][62] From 1901 to 1920, forty-three theaters were built around Broadway in Midtown Manhattan, including the Belasco Theatre.[63] David Belasco himself had been involved in operating Oscar Hammerstein's Republic Theatre (now the New Victory Theater), in the Theater District on 42nd Street, since 1902.[64] Belasco was heavily focused on theatrical lighting; in many cases, he invested more money and devoted more time to a production's light rehearsal than to the combined total of all other production costs.[65][66]

Belasco operation edit

Development and early years edit

 
Stuyvesant Theatre in 1907, prior to the addition of Belasco's apartment atop the east (far right) pavilion

What is now the Belasco Theatre was developed by Meyer R. Bimberg. In June 1906, Belasco announced he would manage the theater and name it after Peter Stuyvesant, the New Amsterdam director-general.[7][8] The theater would be designed by George Keister and would cost about $300,000.[5][67] Keister filed plans with the New York City Department of Buildings in September 1906,[68][69] by which the excavation was nearly completed.[69][70] On December 5, 1906, several hundred guests including Bronson Howard, Blanche Bates, and Frances Starr attended the theater's cornerstone-laying ceremony, and the theater was formally dedicated as David Belasco's Stuyvesant Theatre.[71][72][73] The total cost of the theater was estimated at more than $750,000.[23][44][74]

David Belasco's Stuyvesant Theatre opened on October 16, 1907, with the musical A Grand Army Man featuring Antoinette Perry.[75][76][77] One critic called the theater "the most complete and satisfactory playhouse in existence".[11] Another publication said that the interior was "much the most beautiful in New York".[11][78] Belasco served as the producer or director of almost 50 productions at the theater for the next two decades; the majority of these ran for at least a hundred performances.[79] Among the early productions at the theater were The Warrens of Virginia, which premiered in 1908,[80][81] and The Devil, which premiered simultaneously at the Stuyvesant and the Garden that year.[82][83] Also played at the Stuyvesant were The Fighting Hope (1908)[84][85] and The Easiest Way (1909).[84][86] During 1909, Belasco constructed the duplex apartment above the eastern part of the theater.[52][53] The same year, Belasco made an agreement with Klaw and Erlanger, enabling their respective firms to display products at each other's theaters.[11][87]

1910 to 1930 edit

Just a Wife was produced at the Stuyvesant in early 1910.[80][88] The Stuyvesant Theatre was renamed the Belasco Theatre on September 17, 1910,[89] and the first Belasco Theatre on 42nd Street became Hammerstein's Republic Theatre.[11][90] Not long afterward, the Belasco hosted The Concert (1910) and Return of Peter Grimm (1911), both with over 200 performances.[91][92] The Belasco also hosted some musical performances, such as a wind instrument ensemble led by Georges Barrère,[93] as well as a performance by the Trio de Lutece.[94] In 1914, the theater hosted Molnár's The Phantom Rival,[95][96] which introduced the concept of blacking out the lights to change sets and costumes, rather than lowering the curtain.[57] The following year, the Belasco premiered The Boomerang,[97][98] and the stage apron was adjusted for The Boomerang.[99] Other notable productions in the 1910s included Seven Chances (1916)[92][100] and Polly With a Past (1917).[101][102]

 
David Belasco in the workroom of his studio at the theater

In the 1910s and 1920s, David Belasco was particularly involved in the theatrical development of several actresses, including Blanche Bates, Ina Claire, Katharine Cornell, Jeanne Eagels, and Lenore Ulric.[103] Among the films in which they starred were Polly With a Past, featuring Claire; Daddies (1918), with Eagles; and The Son-Daughter (1919), with Ulric.[91][104] During the 1920s, Ulric appeared in Kiki (1921), The Harem (1924), Lulu Belle (1926), and Mima (1928).[91][104][105] Theatrical historian Ken Bloom characterized the actresses as "Belasco heroines".[82] Belasco initially paid close attention to accurate representation of details in the theater's productions. He was adamant that laundry scenes should contain functioning laundries capable of washing and ironing real clothes, and for one production he made a mockup of a Childs Restaurants franchise.[91]

The Belasco hosted several other productions in the 1920s.[103] Lionel Atwill starred in Deburau during 1920,[97][106][107] and Kiki ran 580 performances the following year.[97][108] The Belasco hosted Laugh, Clown, Laugh! with Lionel Barrymore in 1923, as well as Tiger Cats with Katharine Cornell in 1924.[91][104] Lulu Belle was another successful production at the Belasco, with 461 performances.[97][109] The Belasco also hosted the musical Hit the Deck in 1927,[110] one of the few to take place in the theater.[91] David Belasco renovated the theater for the production of Mima.[111] Though he redesigned the proscenium arch's decorations and added metal sheathing to the balconies and orchestra boxes, he lost $250,000 on the productions.[97] The Bachelor Father (1928) and It's a Wise Child (1929) were among the other successful productions of the 1920s.[91] His last-ever production at the theater was Tonight or Never, which premiered in November 1930.[91][112][113] Since Belasco missed the original opening performance of Tonight or Never due to illness, a second one was hosted for his benefit in March 1931.[11][114]

After Belasco's death edit

David Belasco died in May 1931 after a long illness,[115] and theatrical manager B. F. Roeder was appointed as the executor of Belasco's estate, continuing to operate the theater.[116] That August, Katherine Cornell and her husband Guthrie McClintic signed a lease to operate the theater for two years.[117][118] At the time, the theater was appraised at $800,000.[119] McClintic directed Brief Moment, the first production to take place at the theater under Cornell's management.[120][121] Cornell herself appeared in two productions: Lucrece (1932) and Alien Corn (1933).[82][122] Cornell and McClintic had six productions total, including Criminal at Large (1932).[97] Hazel Rice, whose husband was playwright Elmer Rice, purchased the Belasco in August 1934[123][124] for $330,000.[125] She made minor alterations to the theater but generally found it in "good condition".[126] Rice had two productions, Judgment Day (1934) and Between Two Worlds (1934), both of which were flops.[120] The Belasco estate filed to foreclose upon the theater in February 1936[125][127] and reacquired the theater from Rice that March.[128][129]

In late 1934, the Group Theatre started showing its productions at the Belasco, relocating Gold Eagle Guy from another theater.[130][131] The Group Theatre's subsequent productions included Awake and Sing!, Dead End, Golden Boy, and Rocket to the Moon.[82][132] Dead End had 684 performances before closing in 1937,[97][133][134] making it the Belasco's longest-running play, a record that stood for eight decades.[135] The following decade commenced with the production My Dear Children in 1940.[97][136][137] The play featured John Barrymore's last Broadway appearance and was generally negatively panned,[138] even though its $50,000 of advance ticket sales was among the largest such figure of any Broadway show.[82] More successful were Johnny Belinda (1940), Mr. and Mrs. North (1941), and Dark Eyes (1943).[136]

The Belasco Theatre Corporation, a syndicate headed by John Wildberg, purchased the Belasco in May 1944[139][140] and leased it to Max Jelin for two years that July.[141][142] A particularly controversial production was Trio, which discussed the topic of lesbianism when it opened in December 1944,[143] but which was forced to close two months later in February 1945.[136][144] In the aftermath of the Trio controversy, the theater's owners evicted Jelin, who was only reinstated in January 1946 after suing in the New York Supreme Court.[145] Meanwhile, Judy Holliday had her first major success in Kiss Them for Me (1945),[146][147] while Marlon Brando had his first widely noticed success in Truckline Cafe (1946).[148] Other productions during the 1940s included Home of the Brave (1945),[149][150] Burlesque (1946) with Bert Lahr,[151] Me and Molly (1948) with Gertrude Berg,[149][152] and The Madwoman of Chaillot (1948) with Martita Hunt and Estelle Winwood.[146][153] Jelin initially refused to leave the theater when his lease expired in 1947,[154] but the New York Supreme Court ultimately forced him to do so.[155]

Shubert operation edit

1950s to 1970s edit

 
The theater as seen from the west

The Belasco Theatre was sold in November 1948 for $442,000 in cash.[156] Although the new owners planned to demolish the theater in the future, the Shubert Organization took over management in the interim.[156][157] The Shuberts themselves were subsequently reported as having been the buyers; by mid-1949, they were negotiating to lease it to NBC as a broadcast studio.[158] NBC used the theater as a broadcast location for four years.[146] At that time, several Broadway theaters had been converted to broadcast studios due to a lack of studio space in New York City.[159] The studio broadcasts included plays from the Theatre Guild of the Air series[160] and NBC Symphony Orchestra concerts.[161] The game show Take It or Leave It was also broadcast from the Belasco while it was an NBC studio.[126]

The Belasco reopened as a legitimate Broadway venue on November 5, 1953, with The Solid Gold Cadillac.[146][162] Other Broadway productions in the 1950s included The Flowering Peach (1954),[163][164] Will Success Spoil Rock Hunter? (1955),[146][165] and Nude with Violin (1957).[163][166] The Belasco's production of All the Way Home, which premiered in 1960,[167][168] won the Pulitzer Prize for Drama.[149] Other notable productions included Write Me a Murder (1961),[163][169] Seidman and Son (1962),[163][170] The Last Analysis (1964),[17][171] Inadmissible Evidence (1965),[146][172] and The Subject Was Roses (1966).[17][173] The Killing of Sister George, which was hosted at the Belasco in 1966,[174][175] was shown without incident, despite being more explicit about lesbian themes than Trio had two decades prior.[163] The 1969 production Does a Tiger Wear a Necktie? featured the Broadway debut of Al Pacino.[146][176]

With the decline of the Broadway-theater industry in the late 1960s, the quality of the Belasco's productions also decreased.[82] A New York Times article in 1975 said the theater had "not seen the opening night of a hit since 1966", though the Belasco was still the second-oldest remaining Broadway theater, after the Lyceum.[20] The off-Broadway production Oh! Calcutta!, a revue in which all the cast members were nude,[177] moved from the Eden Theatre to the Belasco in 1971.[178][179] Despite the quality of the productions, the Shubert Organization retained the Belasco in nearly original condition.[180] For the production of The Rocky Horror Show (1975),[178][181] the Shuberts added stands and temporarily removed some orchestra seating.[126][182] This was followed by a series of short runs including An Almost Perfect Person (1977),[177][183] The Goodbye People (1979),[184][185] and Hide and Seek (1979).[177][186] In the late 1970s, there were also plans to convert the Belasco to a cabaret venue.[182]

1980s and 1990s edit

 
Sign on the Belasco's facade

Through the late 20th century, the Shuberts generally used the theater for the final runs of productions that had previously played at other Shubert venues.[177] These productions included Ain't Misbehavin' (1981)[187][188] and Accidental Death of an Anarchist (1984).[189][190] Afterward, the Belasco remained inactive for two years,[191] though the Shuberts agreed in 1985 to let the New York Shakespeare Festival use the Belasco rent-free.[192] The festival opened in November 1986[191][193] and hosted students' Shakespeare productions at the theater through 1987.[82] Joseph Papp led the program, whose $2.5 million cost was partly funded by the city government and several local newspapers.[194][195]

During the 1980s, the Shuberts renovated the Belasco as part of a restoration program for their Broadway theaters.[196] To raise money for the Belasco Theatre's upkeep, the Shubert Organization leased some of the site's unused air development rights to Feldman Equities in November 1986. The air rights were used to increase the height of the adjacent skyscraper being built at 120 West 45th Street.[191] Under the terms of the deal, the Belasco had to remain active for as long as the skyscraper used the air rights.[197] To increase the occupancy of the Belasco and other little-used Broadway theaters, the League of American Theaters and Producers negotiated with Broadway unions and guilds during the late 1980s.[198]

The New York City Landmarks Preservation Commission (LPC) had started considering protecting the Belasco as an official city landmark in 1982,[199] with discussions continuing over the next several years.[200] The LPC designated both the facade and the interior as landmarks on November 4, 1987.[201][202] This was part of the LPC's wide-ranging effort in 1987 to grant landmark status to Broadway theaters.[203] The New York City Board of Estimate ratified the designations in March 1988.[204] The Shuberts, the Nederlanders, and Jujamcyn collectively sued the LPC in June 1988 to overturn the landmark designations of 22 theaters, including the Belasco, on the merit that the designations severely limited the extent to which the theaters could be modified.[205] The lawsuit was escalated to the New York Supreme Court and the Supreme Court of the United States, but these designations were ultimately upheld in 1992.[206]

The Shuberts, the Nederlanders, and Jujamcyn formed the Broadway Alliance in June 1990, wherein each company set aside one of its theaters to present dramas and comedies at reduced ticket prices.[207] The program covered the Belasco, Nederlander, and Walter Kerr theaters.[208] The Belasco hosted The Speed of Darkness in 1991.[180][209] The National Actors Theatre, led by Tony Randall, began showing productions at the Belasco later the same year.[177][210] The Shuberts had leased the Belasco to the National Actors Theatre so the venue could remain active as part of the agreement concerning the theater's air rights. The National Actors Theatre had a "favorable" lease agreement, paying only for taxes, fixed expenses, and utility use.[210] The group's inaugural program included revivals of The Crucible, The Little Hotel on the Side, and The Master Builder.[180][210] The National Actors Theatre's productions at the Belasco were mostly flops.[82] The Belasco was then used to host the puppet show A Little More Magic in 1994.[180][211] The Belasco then hosted other productions such as Hamlet, A Doll's House, Honour, and Ring Round the Moon in the late 1990s.[180] Feldman Equities considered buying the Belasco in 1996 but ultimately did not do so.[212]

2000s to present edit

 
As seen from the east in 2002

The first musical to play the Belasco in the 2000s was James Joyce's The Dead.[213][214] This was followed by the musical Follies in 2001[213][215] and Frankie and Johnny in the Clair de Lune in 2002.[216][217] As part of a settlement with the United States Department of Justice in 2003, the Shuberts agreed to improve disabled access at their 16 landmarked Broadway theaters, including the Belasco.[218][219] There were two short productions in that year: Enchanted April and Six Dance Lessons in Six Weeks. More productions followed later in the 2000s, including Dracula, the Musical, Julius Caesar, Awake and Sing!, Journey's End, Passing Strange, American Buffalo, and Joe Turner's Come and Gone.[135] During the production of Awake and Sing! in 2006[220] and Joe Turner's Come and Gone in 2009, the theater was leased by Lincoln Center Theater.[221]

In mid-2009, after Joe Turner's Come and Gone closed, the Belasco closed for a renovation.[135] By then, producers considered the theater to be small compared to most other Broadway venues.[41] Francesca Russo oversaw the restoration of the auditorium, while McLaren Engineering Group was the primary contractor. The boxes at the first balcony level were restored, and the segregated entrance providing access to the second balcony was removed.[41][42] Decorative elements such as the stained glass and murals were restored, and amenities such as restrooms and seats were replaced.[135] The theater reopened on October 2, 2010, with a showing of Women on the Verge of a Nervous Breakdown.[222] In 2014, Hedwig and the Angry Inch opened its first Broadway production and became the longest running show at the Belasco.[223] Other shows to play the Belasco in the 2010s included End of the Rainbow, Golden Boy, a double bill of Twelfth Night and Richard III, Blackbird, The Glass Menagerie, The Terms of My Surrender, Farinelli and the King, Gettin' the Band Back Together, and Network.[135]

During November 2019, Netflix leased the theater to screen the Martin Scorsese film The Irishman.[176][224] For The Irishman, the Belasco's first film screening in its history, the theater was retrofitted with a production booth, surround sound, and a projection screen.[225] The theater staged Girl from the North Country in early 2020[226] before it closed on March 12, 2020, due to the COVID-19 pandemic.[227] The theater reopened on October 13, 2021, with Girl from the North Country.[228][229] That show closed in January 2022[230][231] before returning for a limited engagement from April to June.[232] Ain't No Mo' was staged at the Belasco during December 2022,[233][234] followed by Good Night, Oscar from April to August 2023.[235][236] The musical How to Dance in Ohio is planned to open at the Belasco in December 2023.[237][238]

Alleged haunting edit

The Belasco Theater is the subject of an urban legend that David Belasco's ghost haunts the theater every night.[55][239] According to actors and backstage personnel, the ghost would be seen in clerical-like wear, sitting in an empty box during the opening night of a production.[55][180][240] Several actors have reported that the ghost would try to speak to them.[239][240] One caretaker reportedly also heard rattling from the chains of Belasco's private elevator, which had long since been abandoned.[20][180] Other accounts have described unexplained footsteps; doors and curtains moving randomly; and the elevator moving while not in use.[240][241][242] Sightings of a second ghost, called the "Blue Lady", have been reported at the theater.[239][240][242] This ghost, reported as an "icy cold blue mist",[239] was supposedly an actress that fell to her death in an elevator shaft.[242]

After Oh! Calcutta! played at the theater, the ghost of David Belasco reportedly stopped appearing.[59][177] By the 2000s, people had begun to report that the ghost had reappeared.[135] In Hedwig and the Angry Inch, Hedwig briefly discusses the history of the Belasco and references the ghost of Belasco, claiming that if the ghost appears on a show's opening night, then the show is blessed. She then asks audience members in one of the boxes to tell her if the ghost appears.[243]

Notable productions edit

Productions are listed by the year of their first performance. This list only includes Broadway shows; it does not include programs broadcast from there.[32][244]

See also edit

References edit

Notes edit

  1. ^ This has also been cited as 1,015 seats.[32] According to one source, the seating capacity ranges from 990 to 1,042 depending on layout.[33]
  2. ^ As built, these were divided into about 450 seats at orchestra level, 320 on the first balcony, and 240 on the second balcony.[26][34][35]

Citations edit

  1. ^ a b Landmarks Preservation Commission 1987, p. 1.
  2. ^ a b Landmarks Preservation Commission Interior 1987, p. 1.
  3. ^ a b White, Norval; Willensky, Elliot; Leadon, Fran (2010). AIA Guide to New York City (5th ed.). New York: Oxford University Press. p. 298. ISBN 978-0-19538-386-7.
  4. ^ a b c d "111 West 44 Street, 10036". New York City Department of City Planning. from the original on October 26, 2021. Retrieved March 25, 2021.
  5. ^ a b "Plans for Mr. Bimberg's Theatre in Times Square". The Real Estate Record: Real Estate Record and Builders' Guide. Vol. 77, no. 1996. June 16, 1906. p. 1142. from the original on October 26, 2021. Retrieved November 4, 2021 – via columbia.edu.
  6. ^ a b c d e f Landmarks Preservation Commission 1987, p. 12.
  7. ^ a b "Belasco Will Manage New Bimberg Theatre: Gets Control of the House to Be Built Near Times Square". The New York Times. June 23, 1906. ISSN 0362-4331. from the original on October 26, 2021. Retrieved October 26, 2021.
  8. ^ a b "New Belasco Theatre". New-York Tribune. June 23, 1906. p. 6. ProQuest 571849979.
  9. ^ a b c d "Light Like Day in New Theatre; Electrics Screened Behind a Ground Glass Ceiling in the Stuyvesant". The New York Times. April 29, 1907. ISSN 0362-4331. from the original on October 26, 2021. Retrieved October 26, 2021.
  10. ^ Landmarks Preservation Commission 1987, pp. 12–13.
  11. ^ a b c d e f g h Landmarks Preservation Commission 1987, p. 13.
  12. ^ a b Landmarks Preservation Commission 1987, pp. 17–18.
  13. ^ a b c d e f g h i j k l m n o p "Belasco's New Stuyvesant Theatre". The Billboard. Vol. 19, no. 44. October 26, 1907. p. 4. ProQuest 1031383250. from the original on November 4, 2021. Retrieved November 4, 2021.
  14. ^ a b c d e f g h i j k l m n o p q "Many Unique Features in This New Playhouse: Stuyvesant Theatre, Built by David Belasco, Marks a Great Advance". The Sun. October 13, 1907. p. 12. ProQuest 537447391.
  15. ^ a b c d e Architects' and Builders' Magazine 1907, p. 85.
  16. ^ a b Winter 1918, p. 238.
  17. ^ a b c d Landmarks Preservation Commission 1987, p. 17.
  18. ^ a b c d e f Landmarks Preservation Commission 1987, p. 18.
  19. ^ a b c Landmarks Preservation Commission Interior 1987, pp. 13–14.
  20. ^ a b c Montgomery, Paul L. (January 27, 1975). "Aging Belasco Preens for a New Theatrical Life". The New York Times. ISSN 0362-4331. from the original on October 27, 2021. Retrieved October 27, 2021.
  21. ^ Anthony, Ellen. . Broadway Magazine. Archived from the original on December 30, 2010.
  22. ^ a b c d Landmarks Preservation Commission Interior 1987, p. 14.
  23. ^ a b Architects' and Builders' Magazine 1907, p. 89.
  24. ^ a b c d e f g h i j k Landmarks Preservation Commission Interior 1987, p. 15.
  25. ^ a b Landmarks Preservation Commission Interior 1987, p. 21.
  26. ^ a b c d e f Landmarks Preservation Commission Interior 1987, p. 13.
  27. ^ a b c d e f g Landmarks Preservation Commission Interior 1987, p. 22.
  28. ^ a b Landmarks Preservation Commission Interior 1987, pp. 21–22.
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  34. ^ Marker 1975, p. 38.
  35. ^ a b c d Winter 1918, p. 239.
  36. ^ a b Architects' and Builders' Magazine 1907, pp. 85–86.
  37. ^ a b c d Landmarks Preservation Commission Interior 1987, p. 23.
  38. ^ a b c Landmarks Preservation Commission Interior 1987, pp. 22–23.
  39. ^ Winter 1918, pp. 239–240.
  40. ^ Landmarks Preservation Commission Interior 1987, pp. 23–24.
  41. ^ a b c d Isherwood, Charles (August 24, 2010). "A Temple of Drama, Burnished". The New York Times. ISSN 0362-4331. from the original on October 28, 2021. Retrieved October 28, 2021.
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  45. ^ a b Architects' and Builders' Magazine 1907, p. 86.
  46. ^ Marker 1975, pp. 38–39.
  47. ^ a b Winter 1918, p. 245.
  48. ^ a b Architects' and Builders' Magazine 1907, p. 88.
  49. ^ Landmarks Preservation Commission Interior 1987, p. 24.
  50. ^ Architects' and Builders' Magazine 1907, pp. 86–88.
  51. ^ Winter 1918, p. 10.
  52. ^ a b Winter 1918, pp. 240–241.
  53. ^ a b Landmarks Preservation Commission Interior 1987, pp. 15–16.
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  57. ^ a b c d e Landmarks Preservation Commission Interior 1987, p. 16.
  58. ^ a b Winter 1918, pp. 241–242.
  59. ^ a b Paumgarten, Nick (June 26, 2006). "A Broadway Haunt". The New Yorker. Retrieved October 28, 2021.
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  63. ^ Landmarks Preservation Commission 1987, p. 4.
  64. ^ Bloom 2007, p. 27; Landmarks Preservation Commission 1987, p. 8.
  65. ^ Landmarks Preservation Commission 1987, p. 9.
  66. ^ Winter 1918, p. 247.
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  68. ^ "Theatres". The Real Estate Record: Real Estate Record and Builders' Guide. Vol. 78, no. 2010. September 22, 1906. p. 484. from the original on October 28, 2021. Retrieved November 4, 2021 – via columbia.edu.
  69. ^ a b "Belasco Files Plans: Stuyvesant Theatre Will Be Ready for Occupancy Next Year". New-York Tribune. September 19, 1906. p. 7. ProQuest 571707568.
  70. ^ "Belasco's Stuyvesant Theatre Plans". The New York Times. September 19, 1906. ISSN 0362-4331. from the original on October 26, 2021. Retrieved October 26, 2021.
  71. ^ Winter 1918, pp. 235–236.
  72. ^ "Farmers' Loan Bill Passed by the House; Lewis Act Affecting National Banks Causes Lively Debate". The New York Times. December 6, 1906. ISSN 0362-4331. from the original on October 26, 2021. Retrieved October 26, 2021.
  73. ^ "New Belasco House: Cornerstone of Stuyvesant Theatre, in 44th Street, Laid". New-York Tribune. December 6, 1906. p. 7. ProQuest 571786728.
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  75. ^ Bloom 2007, p. 27; Landmarks Preservation Commission 1987, p. 15.
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  324. ^ Piepenburg, Erik (December 28, 2010). "'Women on the Verge' of an Early Closing". ArtsBeat. from the original on October 29, 2021. Retrieved October 29, 2021.
  325. ^ "Kathy Griffin Wants a Tony Broadway @ Belasco Theatre". Playbill. from the original on October 26, 2021. Retrieved October 26, 2021.
  326. ^ Itzkoff, Compiled by Dave (March 14, 2011). "Footnotes". The New York Times. ISSN 0362-4331. from the original on October 29, 2021. Retrieved October 29, 2021.
  327. ^ "End of the Rainbow Broadway @ Belasco Theatre". Playbill. from the original on October 28, 2021. Retrieved October 26, 2021.
  328. ^ Rohter, Larry (July 31, 2012). "It's the End for 'End of the Rainbow'". The New York Times. ISSN 0362-4331. from the original on October 29, 2021. Retrieved October 29, 2021.
  329. ^ "Golden Boy Broadway @ Belasco Theatre". Playbill. from the original on October 26, 2021. Retrieved October 26, 2021.
  330. ^ Gates, Anita (December 6, 2012). "Dramatic Nuggets With a Certain Glow". The New York Times. ISSN 0362-4331. from the original on October 30, 2021. Retrieved October 29, 2021.
  331. ^ "Twelfth Night / Richard III Broadway @ Belasco Theatre". Playbill. from the original on October 27, 2021. Retrieved October 26, 2021.
  332. ^ Cooper, Michael (November 29, 2013). "Is This a Sackbut I Hear Before Me?". The New York Times. ISSN 0362-4331. from the original on October 29, 2021. Retrieved October 29, 2021.
  333. ^ Heller, Scott (August 18, 2015). "'Hedwig and the Angry Inch' Sets Broadway Closing Date". ArtsBeat. from the original on October 29, 2021. Retrieved October 29, 2021.
  334. ^ "Blackbird Broadway @ Belasco Theatre". Playbill. from the original on October 28, 2021. Retrieved October 26, 2021.
  335. ^ Brantley, Ben (March 11, 2016). "Review: 'Blackbird': The Past Returns, Taunting". The New York Times. ISSN 0362-4331. from the original on October 29, 2021. Retrieved October 29, 2021.
  336. ^ "The Glass Menagerie Broadway @ Belasco Theatre". Playbill. from the original on October 26, 2021. Retrieved October 26, 2021.
  337. ^ Brantley, Ben (March 10, 2017). "Review: Dismantling 'The Glass Menagerie'". The New York Times. ISSN 0362-4331. from the original on October 26, 2021. Retrieved October 26, 2021.
  338. ^ "Michael Moore: The Terms of My Surrender Broadway @ Belasco Theatre". Playbill. from the original on October 28, 2021. Retrieved October 26, 2021.
  339. ^ Green, Jesse (August 11, 2017). "Review: Michael Moore, Bragging on Broadway, in 'The Terms of My Surrender'". The New York Times. ISSN 0362-4331. from the original on October 26, 2021. Retrieved October 26, 2021.
  340. ^ "Farinelli and the King Broadway @ Belasco Theatre". Playbill. December 5, 2017. from the original on October 28, 2021. Retrieved October 26, 2021.
  341. ^ Brantley, Ben (December 18, 2017). "Review: Mark Rylance Returns as a Mad Monarch to Cherish in 'Farinelli'". The New York Times. ISSN 0362-4331. from the original on October 26, 2021. Retrieved October 26, 2021.
  342. ^ "Gettin' the Band Back Together Broadway @ Belasco Theatre". Playbill. July 19, 2018. from the original on October 26, 2021. Retrieved October 26, 2021.
  343. ^ Green, Jesse (August 14, 2018). "Review: Familiar Rock Dreams in 'Gettin' the Band Back Together'". The New York Times. ISSN 0362-4331. from the original on October 26, 2021. Retrieved October 26, 2021.
  344. ^ "Network Broadway @ Belasco Theatre". Playbill. November 10, 2018. from the original on October 27, 2021. Retrieved October 26, 2021.
  345. ^ Brantley, Ben (December 7, 2018). "Review: In 'Network,' an Electrifying Bryan Cranston Is All the Rage". The New York Times. ISSN 0362-4331. from the original on October 26, 2021. Retrieved October 26, 2021.
  346. ^ Brantley, Ben (March 6, 2020). "'Girl From the North Country' Review: Bob Dylan's Amazing Grace". The New York Times. ISSN 0362-4331. from the original on October 26, 2021. Retrieved October 25, 2021.

Sources edit

  • Belasco Theater (PDF) (Report). New York City Landmarks Preservation Commission. November 4, 1987.
  • Belasco Theater Interior (PDF) (Report). New York City Landmarks Preservation Commission. November 4, 1987.
  • Bloom, Ken (2007). The Routledge Guide to Broadway (1st ed.). New York: Routledge. pp. 27–28. ISBN 978-0-415-97380-9.
  • Botto, Louis; Mitchell, Brian Stokes (2002). At This Theatre: 100 Years of Broadway Shows, Stories and Stars. New York; Milwaukee, WI: Applause Theatre & Cinema Books/Playbill. pp. 27–35. ISBN 978-1-55783-566-6.
  • Marker, Lise-Lone (1975). David Belasco: Naturalism in the American Theatre. Princeton, New Jersey: Princeton University Press. ISBN 978-1-4008-7026-4.
  • "The Stuyvesant Theatre, George Keister, Architect". Architects' and Builders' Magazine. Vol. 40, no. 2. November 1907. pp. 85–89.
  • Winter, William (1918). The Life of David Belasco. Vol. 2. Jefferson Winter. ISBN 978-1-4047-7775-0.

External links edit

 

January 19, 2024
belasco, theatre, stuyvesant, theatre, redirects, here, movie, theater, second, avenue, formerly, known, stuyvesant, theatre, village, east, angelika, theater, angeles, angeles, theater, 42nd, street, formerly, known, victory, theater, broadway, theater, west,. Stuyvesant Theatre redirects here For the movie theater on Second Avenue formerly known as the Stuyvesant Theatre see Village East by Angelika For the theater in Los Angeles see Belasco Theatre Los Angeles For the theater on 42nd Street formerly known as the Belasco Theatre see New Victory Theater The Belasco Theatre is a Broadway theater at 111 West 44th Street between Seventh Avenue and Sixth Avenue in the Theater District of Midtown Manhattan in New York City Originally known as the Stuyvesant Theatre it was built in 1907 and designed by architect George Keister for impresario David Belasco The Belasco Theatre has 1 016 seats across three levels and has been operated by The Shubert Organization since 1948 Both the facade and interior of the theater are New York City landmarks Belasco TheatreStuyvesant TheatreSeen in 2022Address111 West 44th StreetManhattan New York CityUnited StatesCoordinates40 45 24 N 73 59 02 W 40 75667 N 73 98389 W 40 75667 73 98389OwnerThe Shubert OrganizationDesignationBroadwayTypeBroadwayCapacity1 016ProductionHow to Dance in OhioConstructionOpenedOctober 16 1907ArchitectGeorge KeisterWebsiteshubert nyc theatres belasco New York City LandmarkDesignatedNovember 4 1987 1 Reference no 1317 1 Designated entityFacadeNew York City LandmarkDesignatedNovember 4 1987 2 Reference no 1318 2 Designated entityLobby and auditorium interiorThe main facade on 44th Street is made of red brick in Flemish bond with terracotta decorative elements The ground floor contains the entrance while the upper stories are asymmetrical and topped by a pediment Belasco and his company had their offices in the western wing of the theater A ten room duplex penthouse apartment occupies the top of the eastern wing and contained Belasco s collection of memorabilia The interior features Tiffany lighting and ceiling panels rich woodwork and expansive murals by American artist Everett Shinn The auditorium consists of a ground level orchestra and two overhanging balconies with boxes at the second balcony level The theater was developed by Meyer R Bimberg and operated by David Belasco as the Stuyvesant Theatre It opened on October 16 1907 and was expanded in 1909 with Belasco s apartment Belasco renamed the venue for himself in 1910 After his death in 1931 Katharine Cornell and then the wife of playwright Elmer Rice leased the space The Shuberts bought the theater in 1948 and leased it to NBC for three years before returning it to legitimate use in 1953 Through the late 20th century despite a decline in the quality of productions hosted at the Belasco it continued to show Broadway plays and musicals The theater was renovated multiple times over the years including in the 1920s 1970s and 2000s Contents 1 Site 2 Design 2 1 Facade 2 1 1 Ground story 2 1 2 Upper stories 2 2 Interior 2 2 1 Lobby 2 2 2 Auditorium 2 2 2 1 Seating areas 2 2 2 2 Other design features 2 2 3 Other facilities 3 History 3 1 Belasco operation 3 1 1 Development and early years 3 1 2 1910 to 1930 3 2 After Belasco s death 3 3 Shubert operation 3 3 1 1950s to 1970s 3 3 2 1980s and 1990s 3 3 3 2000s to present 4 Alleged haunting 5 Notable productions 6 See also 7 References 7 1 Notes 7 2 Citations 7 3 Sources 8 External linksSite editThe Belasco Theatre is on 111 West 44th Street on the north sidewalk between Seventh Avenue and Sixth Avenue near Times Square in the Theater District of Midtown Manhattan in New York City 3 4 The rectangular land lot covers 12 552 sq ft 1 166 1 m2 4 with a frontage of 125 ft 38 m on 44th Street and a depth of 100 42 ft 31 m 4 5 On the same block the Hotel Gerard Hudson Theatre and Millennium Times Square New York are to the west Other nearby buildings include the Algonquin Hotel to the east 1166 Avenue of the Americas to the northeast the Americas Tower and High School of Performing Arts to the north the Lyceum Theatre and 1540 Broadway to the northwest 1500 Broadway to the southwest and the Chatwal New York hotel and the Town Hall to the south 4 Design editThe Belasco Theatre was designed by George Keister the architect of the neighboring Hotel Gerard in the neo Georgian style It was constructed from 1906 to 1907 as the Stuyvesant Theatre and was originally operated by David Belasco 3 6 The neo Georgian style was selected because a similar style was used on many early government buildings of New York City 6 The original name was a homage to Peter Stuyvesant a director general of New Amsterdam the 17th century Dutch colony that later became New York City 6 7 8 Compared to its contemporaries the Belasco is relatively small 6 A wing for offices and dressing rooms separated from the rest of the theater by a thick wall was constructed on the west side of the theater 9 10 The eastern part of the theater is topped by a private duplex apartment built in 1909 11 Facade edit The primary elevation of the facade faces south on 44th Street and is made of red brick in Flemish bond with terracotta decorative elements It is split into an office section to the west and the main theater section to the east The side walls are faced in plain brick 12 The 44th Street elevation is about 60 ft 18 m tall 13 14 while the rear elevation is cited as being 80 ft 24 m 13 or 90 ft 27 m tall 14 To comply with fire regulations at the time of the Belasco s construction the theater is surrounded by an alley measuring 10 ft 3 0 m wide 9 11 14 15 Due to the presence of the alley the theater only measures 105 by 100 ft 32 by 30 m 13 14 15 16 Ground story edit On 44th Street the ground story facade consists of a water table made of granite above which is burnt brick in Flemish bond There are four pairs of doors at the center of the facade above which is an entablature made of terracotta These doors are separated by terracotta pilasters in the Tuscan style On either side of the central doorways are wood framed display boards 17 The facade s westernmost portion corresponds to the office stories and has a granite stoop with two steps The steps are flanked by iron railings and lead to two pairs of wood and glass doors which connect to the ticket lobby These doorways are set within the same opening with Doric terracotta pilasters on either side and an entablature above A metal gate leads to an alley on the west 12 The easternmost section contains a stoop with three steps which lead to a pair of wood and glass doors flanked by pilasters this provides access to the balcony 18 A large metal canopy hangs above the doorways 17 An egg and dart molding and a Greek key frieze runs above the ground story on 44th Street 18 Upper stories edit Details of the 44th Street elevation nbsp East end pavilion nbsp One of the center bays nbsp The office section at far west The upper stories are asymmetrical 6 The office section of the theater is at the extreme western end of the facade while a pair of pavilions flanks three vertical bays on the rest of the facade The entire third story is topped by an entablature with a molded frieze a set of dentils and a heavy cornice with modillions The cornice wraps around to the side elevations of the facade 18 The pavilions are made of burnt brick and generally lack windows A metal sign assembly hangs in front of the west pavilion The eastern corner of the east pavilion has a terracotta quoin Belasco s apartment is on the fourth story above the eastern pavilion On 44th Street the apartment has quoins at either corner a brick facade and a Palladian window Engaged columns and terracotta pilasters flank the center portion of the Palladian window while multi paned windows form the side portions of the window An egg and dart molding runs above the apartment facade 18 The three center bays are delineated by a pair of Ionic terracotta pilasters at each end as well as two single pilasters in the center At the second story each of the center bays contains tripartite casement windows Above the windows are terracotta lintels which are separated into three panels and are topped by a course of dentils At the third story each center bay has a round arched window surrounded by paneled terracotta blocks and topped by a keystone A rectangular terracotta panel with eared corners is placed above each window Above the cornice a brick triangular pediment rises over the center three bays There is an oval window at the center of the pediment with a terracotta frame and keystones as well as a cornice with modillions above the pediment 18 The westernmost portion of the 44th Street elevation is the office section which is designed in a similar style as the main theater facade though it is distinctly demarcated from the rest of the facade 6 which is flanked on either side by terracotta quoins The second story of the office section has a tripartite window with a terracotta lintel The third story of the offices contains a Palladian window which consists of an arched window flanked by rectangular windows on each side The Palladian window has Ionic terracotta pilasters and a terracotta keystone above the arch Above the entablature the fourth story of the office section has quoins at either corner There are three arched windows at the fourth story surrounded by terracotta frames and topped by terracotta keystones The windows are separated by Ionic pilasters supporting a frieze and egg and dart molding of the same material 18 Interior edit The interior color scheme was devised largely by Wilfred Buckland who worked for Belasco s studios 13 14 19 Everett Shinn designed murals for the theater 19 20 The Belasco was outfitted with the most advanced stagecraft tools available including extensive lighting rigs a hydraulics system and vast wing and fly space Like the neighboring Lyceum Theatre it was built with ample workshop space underneath the stage 21 Tiffany Studio designed lighting fixtures throughout the theater 22 which were executed by theatrical lighting specialists Nimis amp Nimis 22 23 Nineteen emergency exits lead from the auditorium onto the street or the alley including ten from orchestra level According to news reports published when the theater opened the entire theater could be evacuated in three minutes 9 11 24 The theater was also mechanically advanced for its time with heating cooling and ventilating systems There were no radiators in the theater but the floor contained a plenum system with 350 ducts The plenum system used to evenly distribute the heat from two boilers either of which could heat the theater on its own When a sufficient level of heat had been reached the heat was shut off and fresh air was distributed through the plenum system using large blowers Air outflow passed through hidden openings in the ceiling of the auditorium In addition the cellar contained a fire pump capable of 250 U S gal 950 L 210 imp gal per minute supplied by a 15 000 U S gal 57 000 L 12 000 imp gal water tower on the roof and a 10 000 U S gal 38 000 L 8 300 imp gal reserve tank in the basement Below the stage was a mezzanine with heating coils Each side of the theater had three separate sets of fire escapes and the western side had a marble and stone staircase leading directly into the alley there 13 14 Lobby edit nbsp Box officeThe entrance lobby is a nearly square space accessed from the westernmost entrance on 44th Street 16 25 John Rapp designed the lobby 15 26 It originally was decorated in a walnut brown and gold color scheme 13 14 19 but this was changed to black and gold sometime in the 20th century 27 The floor is made of mosaic tiles and terrazzo The walls of the lobby are wainscoted in Rouge Duranche marble with paneling and Corinthian pilasters above the wainscoting Partway up the wall is an entablature around the entire room which contains a cornice with modillions The wall surfaces above the entablature are designed to resemble leather The side wall panels have gilded sconces and the ceiling has a chandelier suspended from it 28 The main entrance is from the south wall above which are murals by Everett Shinn The east wall contains doors to the auditorium 28 At the center of the north wall directly opposite the entrance doors is an ornate box office within an arched opening The main ticket window is flanked by Corinthian style colonnettes on either side which support an arched pediment there are also arched panels to the left and right of the ticket window In addition there are Corinthian columns placed on marble bases on either side of the box office opening Above the opening is the cornice and a carved aedicule with a pediment and a brass figure 25 A brass standing rail originally was placed in front of the ticket window but was removed 27 Auditorium edit The auditorium has a ground level orchestra boxes two balconies promenades on the three seating levels and a large stage behind the proscenium arch The auditorium s width is greater than its depth 27 The auditorium has 1 016 seats 29 30 31 a These are divided into 527 seats at orchestra level 283 on the first balcony and 200 on the second balcony as well as 24 box seats and 25 standing only spots 29 b The orchestra was designed with 15 rows of seats There were also twelve boxes in total 15 The seats were all made by the American Seating Company 36 Each seat was of heavy wood upholstered in dark brown leather and the back of each chair was embossed with an emblem of a bee 35 36 Seating areas edit nbsp Auditorium as seen from orchestra levelThe auditorium is accessed from the ticket lobby at the southwest corner of the orchestra 37 The rear south end of the orchestra contains four octagonal columns containing capitals of stained glass which hold up the first balcony level and emergency exit doors on the east wall 38 The columns are placed behind the last row of seats 26 Other than those columns the two balcony levels are cantilevered allowing all rows an unobstructed view of the stage 15 26 39 Four pairs of exit doors on the rear wall of the orchestra lead directly to the central doors on the sidewalk 13 14 38 There are gilded wall sconces next to and between two sets of the doors on the rear wall 37 The orchestra has a raked floor and painted wood paneling on the side walls 38 Four boxes each with six seats flanked the stage at the orchestra level 13 14 though these have since been removed 27 Staircases on either side of the rear doors connect the orchestra to the first balcony level 13 14 27 The orchestra level is wheelchair accessible via the side doors but the balcony levels can only be accessed by steps 29 The balcony levels have wainscoting on both the side and rear walls as well as gilded wall sconces on the side walls The balconies have paneled bands on their undersides with light fixtures underneath Small stained glass chandeliers hang over the second balcony In front of the balconies are bosses topped by foliate bands 40 Until 2010 the second balcony was accessed by a different entrance from the other seats This arrangement was a vestige of an operation in which theater patrons were separated into two classes an arrangement more common in West End theatre than Broadway theatre 41 nbsp Left hand boxes in the BelascoOn either side of the stage is a wall section which originally contained two boxes on either balcony level The first balcony boxes had been removed before the 1980s 37 but they were restored in 2010 41 42 The boxes are supported on console brackets and contain angled railings with foliate decoration a colonnette separates each pair of boxes The boxes wall sections are flanked by octagonal columns with capitals of stained glass which support an arch with a molding 37 At the tops of the boxes wall sections are murals depicting love 22 A staircase connects the orchestra level to the boxes on the east wall 27 Other design features edit Next to the boxes is the proscenium arch which consists of a wide band surrounded by foliate patterns as well as a molding with brackets 27 The proscenium is small in comparison to other Broadway theaters measuring about 32 ft 9 8 m high and 30 ft 9 1 m wide 24 43 There is a mural within the arch measuring 35 ft 11 m long by 8 ft 2 4 m tall except at the center where the mural is only 6 ft 1 8 m tall 26 The mural has 29 pairs of figures which depict emotions such as music grief tranquility allurement blind love and poetry 26 35 Directly in front of the stage was an orchestra pit measuring 32 feet across and 7 ft 2 1 m deep 13 14 The stage itself originally measured 80 ft 24 m wide and 27 ft 8 2 m deep In the 1910s an adjustable apron measuring 5 ft 1 5 m wide was built in front of the curtain which could be used to widen the stage to 85 ft 26 m 24 43 44 A gridiron was placed 76 ft 23 m above the stage while the fly galleries were on either side of the stage and 30 ft 9 1 m above it 44 At the center of the stage is an elevator trap measuring about 10 ft 3 0 m deep and either 20 ft 6 1 m 24 44 or 18 ft 5 5 m wide 45 The trap could raise or lower an entire set to either of two basement levels below the stage 24 The lower basement level is 30 ft 9 1 m 44 or 32 feet deep 13 14 45 A platform with the preceding scene s props built similarly to a large wagon could be loaded onto the trap then swapped in the basement with another platform loaded with the next scene s props 24 46 Some 4 500 electric lights were distributed in the stage area 13 14 24 The footlights on the stage were arranged in seven sections There were five sets of border lights with 270 lamps in each as well as 88 sockets in the fly galleries 13 14 47 48 The switchboard had 65 13 14 or 75 dimmers 47 There is a large gilded and glass chandelier hanging from the auditorium s main ceiling 49 The ceiling was designed with 22 stained glass panels each depicting two shields and being illuminated from above 24 35 50 Twenty of these panels depicted Shakespeare in the dexter right position and various dramatists in the sinister left position The arms of Stuyvesant and Goethe were depicted in the shield to the left of the stage while the arms of Greece and Shakespeare were depicted in those to the right Concealed behind the stained glass panels are 500 lamps 13 14 This illumination was meant to give an impression of real daylight 9 22 George Keister designed the dome lighting 48 Other facilities edit nbsp BackstageDavid Belasco intended the backstage areas to be clean and comfortable even prohibiting stagehands from spitting onto the floor 24 51 There were chairs behind the stage for actors to rest as well as padded floors behind the proscenium so actors could walk on and off stage without making noise 24 Adjoining the auditorium was a six story wing for dressing rooms Each of the dressing rooms were arranged similarly to contemporary residential apartments with concrete floors natural light ventilation hot and cold water and a shower and bathtub on each floor There were thirty five rooms in total 13 14 The dressing rooms overlooked the side and rear alleys for natural light exposure and the eastern wall was a thick fireproof wall separating the dressing rooms from the rest of the theater 24 The eastern portion of the theater contains a ten room duplex apartment which was built for Belasco in 1909 52 53 54 The apartment s design complements the fourth story of the office wing to the west The unit had its own small private elevator 54 as well as a living room with a 30 foot ceiling 55 The duplex contained eccentric items including a collection of ancient pieces of glass a room containing Napoleon memorabilia such as a strand of Napoleon s hair and a bedroom designed with Japanese furnishings 56 57 Also in the duplex were a dining room a library leading to a dining room large baths and narrow passages 56 Belasco had a collection of erotica and medieval art in a hidden Gothic style room 54 57 58 Scattered across the duplex were banners rugs books and what one biographer called a vast confusing medley of collectors treasures 58 After Belasco died in 1931 Sardi s restaurant received some artifacts for its Belasco Room 54 57 59 Some books went to the New York Public Library but most objects were auctioned off 54 57 The Shubert Organization removed some decorations in the 1980s 54 and air ducts were subsequently installed in the apartment 42 History editTimes Square became the epicenter for large scale theater productions between 1900 and the Great Depression 60 Manhattan s theater district had begun to shift from Union Square and Madison Square during the first decade of the 20th century 61 62 From 1901 to 1920 forty three theaters were built around Broadway in Midtown Manhattan including the Belasco Theatre 63 David Belasco himself had been involved in operating Oscar Hammerstein s Republic Theatre now the New Victory Theater in the Theater District on 42nd Street since 1902 64 Belasco was heavily focused on theatrical lighting in many cases he invested more money and devoted more time to a production s light rehearsal than to the combined total of all other production costs 65 66 Belasco operation edit Development and early years edit nbsp Stuyvesant Theatre in 1907 prior to the addition of Belasco s apartment atop the east far right pavilionWhat is now the Belasco Theatre was developed by Meyer R Bimberg In June 1906 Belasco announced he would manage the theater and name it after Peter Stuyvesant the New Amsterdam director general 7 8 The theater would be designed by George Keister and would cost about 300 000 5 67 Keister filed plans with the New York City Department of Buildings in September 1906 68 69 by which the excavation was nearly completed 69 70 On December 5 1906 several hundred guests including Bronson Howard Blanche Bates and Frances Starr attended the theater s cornerstone laying ceremony and the theater was formally dedicated as David Belasco s Stuyvesant Theatre 71 72 73 The total cost of the theater was estimated at more than 750 000 23 44 74 David Belasco s Stuyvesant Theatre opened on October 16 1907 with the musical A Grand Army Man featuring Antoinette Perry 75 76 77 One critic called the theater the most complete and satisfactory playhouse in existence 11 Another publication said that the interior was much the most beautiful in New York 11 78 Belasco served as the producer or director of almost 50 productions at the theater for the next two decades the majority of these ran for at least a hundred performances 79 Among the early productions at the theater were The Warrens of Virginia which premiered in 1908 80 81 and The Devil which premiered simultaneously at the Stuyvesant and the Garden that year 82 83 Also played at the Stuyvesant were The Fighting Hope 1908 84 85 and The Easiest Way 1909 84 86 During 1909 Belasco constructed the duplex apartment above the eastern part of the theater 52 53 The same year Belasco made an agreement with Klaw and Erlanger enabling their respective firms to display products at each other s theaters 11 87 1910 to 1930 edit Just a Wife was produced at the Stuyvesant in early 1910 80 88 The Stuyvesant Theatre was renamed the Belasco Theatre on September 17 1910 89 and the first Belasco Theatre on 42nd Street became Hammerstein s Republic Theatre 11 90 Not long afterward the Belasco hosted The Concert 1910 and Return of Peter Grimm 1911 both with over 200 performances 91 92 The Belasco also hosted some musical performances such as a wind instrument ensemble led by Georges Barrere 93 as well as a performance by the Trio de Lutece 94 In 1914 the theater hosted Molnar s The Phantom Rival 95 96 which introduced the concept of blacking out the lights to change sets and costumes rather than lowering the curtain 57 The following year the Belasco premiered The Boomerang 97 98 and the stage apron was adjusted for The Boomerang 99 Other notable productions in the 1910s included Seven Chances 1916 92 100 and Polly With a Past 1917 101 102 nbsp David Belasco in the workroom of his studio at the theaterIn the 1910s and 1920s David Belasco was particularly involved in the theatrical development of several actresses including Blanche Bates Ina Claire Katharine Cornell Jeanne Eagels and Lenore Ulric 103 Among the films in which they starred were Polly With a Past featuring Claire Daddies 1918 with Eagles and The Son Daughter 1919 with Ulric 91 104 During the 1920s Ulric appeared in Kiki 1921 The Harem 1924 Lulu Belle 1926 and Mima 1928 91 104 105 Theatrical historian Ken Bloom characterized the actresses as Belasco heroines 82 Belasco initially paid close attention to accurate representation of details in the theater s productions He was adamant that laundry scenes should contain functioning laundries capable of washing and ironing real clothes and for one production he made a mockup of a Childs Restaurants franchise 91 The Belasco hosted several other productions in the 1920s 103 Lionel Atwill starred in Deburau during 1920 97 106 107 and Kiki ran 580 performances the following year 97 108 The Belasco hosted Laugh Clown Laugh with Lionel Barrymore in 1923 as well as Tiger Cats with Katharine Cornell in 1924 91 104 Lulu Belle was another successful production at the Belasco with 461 performances 97 109 The Belasco also hosted the musical Hit the Deck in 1927 110 one of the few to take place in the theater 91 David Belasco renovated the theater for the production of Mima 111 Though he redesigned the proscenium arch s decorations and added metal sheathing to the balconies and orchestra boxes he lost 250 000 on the productions 97 The Bachelor Father 1928 and It s a Wise Child 1929 were among the other successful productions of the 1920s 91 His last ever production at the theater was Tonight or Never which premiered in November 1930 91 112 113 Since Belasco missed the original opening performance of Tonight or Never due to illness a second one was hosted for his benefit in March 1931 11 114 After Belasco s death edit David Belasco died in May 1931 after a long illness 115 and theatrical manager B F Roeder was appointed as the executor of Belasco s estate continuing to operate the theater 116 That August Katherine Cornell and her husband Guthrie McClintic signed a lease to operate the theater for two years 117 118 At the time the theater was appraised at 800 000 119 McClintic directed Brief Moment the first production to take place at the theater under Cornell s management 120 121 Cornell herself appeared in two productions Lucrece 1932 and Alien Corn 1933 82 122 Cornell and McClintic had six productions total including Criminal at Large 1932 97 Hazel Rice whose husband was playwright Elmer Rice purchased the Belasco in August 1934 123 124 for 330 000 125 She made minor alterations to the theater but generally found it in good condition 126 Rice had two productions Judgment Day 1934 and Between Two Worlds 1934 both of which were flops 120 The Belasco estate filed to foreclose upon the theater in February 1936 125 127 and reacquired the theater from Rice that March 128 129 In late 1934 the Group Theatre started showing its productions at the Belasco relocating Gold Eagle Guy from another theater 130 131 The Group Theatre s subsequent productions included Awake and Sing Dead End Golden Boy and Rocket to the Moon 82 132 Dead End had 684 performances before closing in 1937 97 133 134 making it the Belasco s longest running play a record that stood for eight decades 135 The following decade commenced with the production My Dear Children in 1940 97 136 137 The play featured John Barrymore s last Broadway appearance and was generally negatively panned 138 even though its 50 000 of advance ticket sales was among the largest such figure of any Broadway show 82 More successful were Johnny Belinda 1940 Mr and Mrs North 1941 and Dark Eyes 1943 136 The Belasco Theatre Corporation a syndicate headed by John Wildberg purchased the Belasco in May 1944 139 140 and leased it to Max Jelin for two years that July 141 142 A particularly controversial production was Trio which discussed the topic of lesbianism when it opened in December 1944 143 but which was forced to close two months later in February 1945 136 144 In the aftermath of the Trio controversy the theater s owners evicted Jelin who was only reinstated in January 1946 after suing in the New York Supreme Court 145 Meanwhile Judy Holliday had her first major success in Kiss Them for Me 1945 146 147 while Marlon Brando had his first widely noticed success in Truckline Cafe 1946 148 Other productions during the 1940s included Home of the Brave 1945 149 150 Burlesque 1946 with Bert Lahr 151 Me and Molly 1948 with Gertrude Berg 149 152 and The Madwoman of Chaillot 1948 with Martita Hunt and Estelle Winwood 146 153 Jelin initially refused to leave the theater when his lease expired in 1947 154 but the New York Supreme Court ultimately forced him to do so 155 Shubert operation edit 1950s to 1970s edit nbsp The theater as seen from the westThe Belasco Theatre was sold in November 1948 for 442 000 in cash 156 Although the new owners planned to demolish the theater in the future the Shubert Organization took over management in the interim 156 157 The Shuberts themselves were subsequently reported as having been the buyers by mid 1949 they were negotiating to lease it to NBC as a broadcast studio 158 NBC used the theater as a broadcast location for four years 146 At that time several Broadway theaters had been converted to broadcast studios due to a lack of studio space in New York City 159 The studio broadcasts included plays from the Theatre Guild of the Air series 160 and NBC Symphony Orchestra concerts 161 The game show Take It or Leave It was also broadcast from the Belasco while it was an NBC studio 126 The Belasco reopened as a legitimate Broadway venue on November 5 1953 with The Solid Gold Cadillac 146 162 Other Broadway productions in the 1950s included The Flowering Peach 1954 163 164 Will Success Spoil Rock Hunter 1955 146 165 and Nude with Violin 1957 163 166 The Belasco s production of All the Way Home which premiered in 1960 167 168 won the Pulitzer Prize for Drama 149 Other notable productions included Write Me a Murder 1961 163 169 Seidman and Son 1962 163 170 The Last Analysis 1964 17 171 Inadmissible Evidence 1965 146 172 and The Subject Was Roses 1966 17 173 The Killing of Sister George which was hosted at the Belasco in 1966 174 175 was shown without incident despite being more explicit about lesbian themes than Trio had two decades prior 163 The 1969 production Does a Tiger Wear a Necktie featured the Broadway debut of Al Pacino 146 176 With the decline of the Broadway theater industry in the late 1960s the quality of the Belasco s productions also decreased 82 A New York Times article in 1975 said the theater had not seen the opening night of a hit since 1966 though the Belasco was still the second oldest remaining Broadway theater after the Lyceum 20 The off Broadway production Oh Calcutta a revue in which all the cast members were nude 177 moved from the Eden Theatre to the Belasco in 1971 178 179 Despite the quality of the productions the Shubert Organization retained the Belasco in nearly original condition 180 For the production of The Rocky Horror Show 1975 178 181 the Shuberts added stands and temporarily removed some orchestra seating 126 182 This was followed by a series of short runs including An Almost Perfect Person 1977 177 183 The Goodbye People 1979 184 185 and Hide and Seek 1979 177 186 In the late 1970s there were also plans to convert the Belasco to a cabaret venue 182 1980s and 1990s edit nbsp Sign on the Belasco s facadeThrough the late 20th century the Shuberts generally used the theater for the final runs of productions that had previously played at other Shubert venues 177 These productions included Ain t Misbehavin 1981 187 188 and Accidental Death of an Anarchist 1984 189 190 Afterward the Belasco remained inactive for two years 191 though the Shuberts agreed in 1985 to let the New York Shakespeare Festival use the Belasco rent free 192 The festival opened in November 1986 191 193 and hosted students Shakespeare productions at the theater through 1987 82 Joseph Papp led the program whose 2 5 million cost was partly funded by the city government and several local newspapers 194 195 During the 1980s the Shuberts renovated the Belasco as part of a restoration program for their Broadway theaters 196 To raise money for the Belasco Theatre s upkeep the Shubert Organization leased some of the site s unused air development rights to Feldman Equities in November 1986 The air rights were used to increase the height of the adjacent skyscraper being built at 120 West 45th Street 191 Under the terms of the deal the Belasco had to remain active for as long as the skyscraper used the air rights 197 To increase the occupancy of the Belasco and other little used Broadway theaters the League of American Theaters and Producers negotiated with Broadway unions and guilds during the late 1980s 198 The New York City Landmarks Preservation Commission LPC had started considering protecting the Belasco as an official city landmark in 1982 199 with discussions continuing over the next several years 200 The LPC designated both the facade and the interior as landmarks on November 4 1987 201 202 This was part of the LPC s wide ranging effort in 1987 to grant landmark status to Broadway theaters 203 The New York City Board of Estimate ratified the designations in March 1988 204 The Shuberts the Nederlanders and Jujamcyn collectively sued the LPC in June 1988 to overturn the landmark designations of 22 theaters including the Belasco on the merit that the designations severely limited the extent to which the theaters could be modified 205 The lawsuit was escalated to the New York Supreme Court and the Supreme Court of the United States but these designations were ultimately upheld in 1992 206 The Shuberts the Nederlanders and Jujamcyn formed the Broadway Alliance in June 1990 wherein each company set aside one of its theaters to present dramas and comedies at reduced ticket prices 207 The program covered the Belasco Nederlander and Walter Kerr theaters 208 The Belasco hosted The Speed of Darkness in 1991 180 209 The National Actors Theatre led by Tony Randall began showing productions at the Belasco later the same year 177 210 The Shuberts had leased the Belasco to the National Actors Theatre so the venue could remain active as part of the agreement concerning the theater s air rights The National Actors Theatre had a favorable lease agreement paying only for taxes fixed expenses and utility use 210 The group s inaugural program included revivals of The Crucible The Little Hotel on the Side and The Master Builder 180 210 The National Actors Theatre s productions at the Belasco were mostly flops 82 The Belasco was then used to host the puppet show A Little More Magic in 1994 180 211 The Belasco then hosted other productions such as Hamlet A Doll s House Honour and Ring Round the Moon in the late 1990s 180 Feldman Equities considered buying the Belasco in 1996 but ultimately did not do so 212 2000s to present edit nbsp As seen from the east in 2002The first musical to play the Belasco in the 2000s was James Joyce s The Dead 213 214 This was followed by the musical Follies in 2001 213 215 and Frankie and Johnny in the Clair de Lune in 2002 216 217 As part of a settlement with the United States Department of Justice in 2003 the Shuberts agreed to improve disabled access at their 16 landmarked Broadway theaters including the Belasco 218 219 There were two short productions in that year Enchanted April and Six Dance Lessons in Six Weeks More productions followed later in the 2000s including Dracula the Musical Julius Caesar Awake and Sing Journey s End Passing Strange American Buffalo and Joe Turner s Come and Gone 135 During the production of Awake and Sing in 2006 220 and Joe Turner s Come and Gone in 2009 the theater was leased by Lincoln Center Theater 221 In mid 2009 after Joe Turner s Come and Gone closed the Belasco closed for a renovation 135 By then producers considered the theater to be small compared to most other Broadway venues 41 Francesca Russo oversaw the restoration of the auditorium while McLaren Engineering Group was the primary contractor The boxes at the first balcony level were restored and the segregated entrance providing access to the second balcony was removed 41 42 Decorative elements such as the stained glass and murals were restored and amenities such as restrooms and seats were replaced 135 The theater reopened on October 2 2010 with a showing of Women on the Verge of a Nervous Breakdown 222 In 2014 Hedwig and the Angry Inch opened its first Broadway production and became the longest running show at the Belasco 223 Other shows to play the Belasco in the 2010s included End of the Rainbow Golden Boy a double bill of Twelfth Night and Richard III Blackbird The Glass Menagerie The Terms of My Surrender Farinelli and the King Gettin the Band Back Together and Network 135 During November 2019 Netflix leased the theater to screen the Martin Scorsese film The Irishman 176 224 For The Irishman the Belasco s first film screening in its history the theater was retrofitted with a production booth surround sound and a projection screen 225 The theater staged Girl from the North Country in early 2020 226 before it closed on March 12 2020 due to the COVID 19 pandemic 227 The theater reopened on October 13 2021 with Girl from the North Country 228 229 That show closed in January 2022 230 231 before returning for a limited engagement from April to June 232 Ain t No Mo was staged at the Belasco during December 2022 233 234 followed by Good Night Oscar from April to August 2023 235 236 The musical How to Dance in Ohio is planned to open at the Belasco in December 2023 237 238 Alleged haunting editThe Belasco Theater is the subject of an urban legend that David Belasco s ghost haunts the theater every night 55 239 According to actors and backstage personnel the ghost would be seen in clerical like wear sitting in an empty box during the opening night of a production 55 180 240 Several actors have reported that the ghost would try to speak to them 239 240 One caretaker reportedly also heard rattling from the chains of Belasco s private elevator which had long since been abandoned 20 180 Other accounts have described unexplained footsteps doors and curtains moving randomly and the elevator moving while not in use 240 241 242 Sightings of a second ghost called the Blue Lady have been reported at the theater 239 240 242 This ghost reported as an icy cold blue mist 239 was supposedly an actress that fell to her death in an elevator shaft 242 After Oh Calcutta played at the theater the ghost of David Belasco reportedly stopped appearing 59 177 By the 2000s people had begun to report that the ghost had reappeared 135 In Hedwig and the Angry Inch Hedwig briefly discusses the history of the Belasco and references the ghost of Belasco claiming that if the ghost appears on a show s opening night then the show is blessed She then asks audience members in one of the boxes to tell her if the ghost appears 243 Notable productions editProductions are listed by the year of their first performance This list only includes Broadway shows it does not include programs broadcast from there 32 244 1908 The Devil 82 245 1908 The Warrens of Virginia 80 81 1910 Just a Wife 80 88 1910 The Concert 92 246 1916 Seven Chances 92 100 1917 Polly With a Past 101 102 1921 Deburau 247 107 1926 Lulu Belle 110 109 1927 Hit the Deck 110 248 1932 The Truth About Blayds 121 249 1932 Criminal at Large 121 250 1935 Awake and Sing 251 252 1935 Waiting for Lefty 253 254 1935 Dead End 251 133 1937 Golden Boy 255 256 1938 Rocket to the Moon 255 257 1940 Johnny Belinda 258 259 1941 The Man with Blond Hair 260 261 1941 Clash by Night 260 262 1942 Nathan the Wise 260 263 1942 Magic and Hello Out There 260 264 1943 Dark Eyes 260 265 1945 Kiss Them for Me 266 267 1945 Home of the Brave 266 268 1946 Truckline Cafe 269 270 1946 Lysistrata 269 271 1947 Sundown Beach 272 273 1948 Me and Molly 274 275 1948 The Madwoman of Chaillot 274 276 1954 The Flowering Peach 272 164 1955 Will Success Spoil Rock Hunter 274 165 1956 Fanny 277 1957 The First Gentleman 278 279 1957 Nude With Violin 278 166 1958 Present Laughter 278 280 1959 A Raisin in the Sun 278 281 1960 All the Way Home 282 168 1961 Write Me a Murder 283 169 1964 The Seagull 283 284 1964 The Crucible 283 285 1965 Inadmissible Evidence 286 172 1966 The Subject Was Roses 173 287 1966 The Killing of Sister George 175 288 1967 Dr Cook s Garden 287 289 1968 Don t Drink the Water 290 1969 Does a Tiger Wear a Necktie 288 291 1971 Oh Calcutta 179 288 1975 The Rocky Horror Show 181 184 1977 American Buffalo 292 293 1979 The Goodbye People 184 185 1980 Your Arms Too Short to Box with God 292 294 1981 Ain t Misbehavin 188 295 1983 Marcel Marceau On Broadway 296 297 1984 Accidental Death of an Anarchist 189 190 1986 Romeo and Juliet 298 1986 As You Like It 299 1986 Macbeth 300 1991 The Speed of Darkness 180 209 1991 The Crucible 180 209 1992 The Master Builder 180 301 1995 Hamlet 180 302 1997 A Doll s House 303 304 1998 Honour 213 305 1999 Ring Round the Moon 213 306 2000 James Joyce s The Dead 213 214 2001 Follies 213 215 2002 Frankie and Johnny in the Clair de Lune 216 307 2003 Enchanted April 308 309 2004 Dracula the Musical 310 311 2005 Julius Caesar 312 313 2006 Awake and Sing 314 315 2007 Journey s End 316 317 2008 Passing Strange 318 319 2008 American Buffalo 320 321 2009 Joe Turner s Come and Gone 322 323 2010 Women on the Verge of a Nervous Breakdown 222 324 2011 Kathy Griffin Wants a Tony 325 326 2012 End of the Rainbow 327 328 2012 Golden Boy 329 330 2013 Twelfth Night and Richard III 331 332 2014 Hedwig and the Angry Inch 223 333 2016 Blackbird 334 335 2017 The Glass Menagerie 336 337 2017 Michael Moore The Terms of My Surrender 338 339 2017 Farinelli and the King 340 341 2018 Gettin the Band Back Together 342 343 2018 Network 344 345 2020 Girl from the North Country 226 346 2022 Ain t No Mo 233 234 2023 Good Night Oscar 235 236 2023 How to Dance in Ohio 237 238 See also editList of Broadway theaters List of New York City Designated Landmarks in Manhattan from 14th to 59th StreetsReferences editNotes edit This has also been cited as 1 015 seats 32 According to one source the seating capacity ranges from 990 to 1 042 depending on layout 33 As built these were divided into about 450 seats at orchestra level 320 on the first balcony and 240 on the second balcony 26 34 35 Citations edit a b Landmarks Preservation Commission 1987 p 1 a b Landmarks Preservation Commission Interior 1987 p 1 a b White Norval Willensky Elliot Leadon Fran 2010 AIA Guide to New York City 5th ed New York Oxford University Press p 298 ISBN 978 0 19538 386 7 a b c d 111 West 44 Street 10036 New York City Department of City Planning Archived from the original on October 26 2021 Retrieved March 25 2021 a b Plans for Mr Bimberg s Theatre in Times Square The Real Estate Record Real Estate Record and Builders Guide Vol 77 no 1996 June 16 1906 p 1142 Archived from the original on October 26 2021 Retrieved November 4 2021 via columbia edu a b c d e f Landmarks Preservation Commission 1987 p 12 a b Belasco Will Manage New Bimberg Theatre Gets Control of the House to Be Built Near Times Square The New York Times June 23 1906 ISSN 0362 4331 Archived from the original on October 26 2021 Retrieved October 26 2021 a b New Belasco Theatre New York Tribune June 23 1906 p 6 ProQuest 571849979 a b c d Light Like Day in New Theatre Electrics Screened Behind a Ground Glass Ceiling in the Stuyvesant The New York Times April 29 1907 ISSN 0362 4331 Archived from the original on October 26 2021 Retrieved October 26 2021 Landmarks Preservation Commission 1987 pp 12 13 a b c d e f g h Landmarks Preservation Commission 1987 p 13 a b Landmarks Preservation Commission 1987 pp 17 18 a b c d e f g h i j k l m n o p Belasco s New Stuyvesant Theatre The Billboard Vol 19 no 44 October 26 1907 p 4 ProQuest 1031383250 Archived from the original on November 4 2021 Retrieved November 4 2021 a b c d e f g h i j k l m n o p q Many Unique Features in This New Playhouse Stuyvesant Theatre Built by David Belasco Marks a Great Advance The Sun October 13 1907 p 12 ProQuest 537447391 a b c d e Architects and Builders Magazine 1907 p 85 a b Winter 1918 p 238 a b c d Landmarks Preservation Commission 1987 p 17 a b c d e f Landmarks Preservation Commission 1987 p 18 a b c Landmarks Preservation Commission Interior 1987 pp 13 14 a b c Montgomery Paul L January 27 1975 Aging Belasco Preens for a New Theatrical Life The New York Times ISSN 0362 4331 Archived from the original on October 27 2021 Retrieved October 27 2021 Anthony Ellen Passing Strange Broadway Ghost Broadway Magazine Archived from the original on December 30 2010 a b c d Landmarks Preservation Commission Interior 1987 p 14 a b Architects and Builders Magazine 1907 p 89 a b c d e f g h i j k Landmarks Preservation Commission Interior 1987 p 15 a b Landmarks Preservation Commission Interior 1987 p 21 a b c d e f Landmarks Preservation Commission Interior 1987 p 13 a b c d e f g Landmarks Preservation Commission Interior 1987 p 22 a b Landmarks Preservation Commission Interior 1987 pp 21 22 a b c Belasco Theatre Shubert Organization Archived from the original on October 29 2021 Retrieved October 30 2021 Belasco Theatre Seating Chart SeatGeek October 27 2021 Archived from the original on October 27 2021 Retrieved October 27 2021 Belasco Theatre Time Out New York April 12 2010 Archived from the original on October 27 2021 Retrieved October 27 2021 a b Belasco Theatre Playbill October 13 2021 Archived from the original on October 26 2021 Retrieved October 27 2021 Belasco Theatre TheaterMania Archived from the original on October 29 2021 Retrieved October 29 2021 Marker 1975 p 38 a b c d Winter 1918 p 239 a b Architects and Builders Magazine 1907 pp 85 86 a b c d Landmarks Preservation Commission Interior 1987 p 23 a b c Landmarks Preservation Commission Interior 1987 pp 22 23 Winter 1918 pp 239 240 Landmarks Preservation Commission Interior 1987 pp 23 24 a b c d Isherwood Charles August 24 2010 A Temple of Drama Burnished The New York Times ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 a b c Belasco Theatre Architect Archived from the original on October 28 2021 Retrieved October 28 2021 a b Marker 1975 pp 95 96 a b c d e Winter 1918 p 240 a b Architects and Builders Magazine 1907 p 86 Marker 1975 pp 38 39 a b Winter 1918 p 245 a b Architects and Builders Magazine 1907 p 88 Landmarks Preservation Commission Interior 1987 p 24 Architects and Builders Magazine 1907 pp 86 88 Winter 1918 p 10 a b Winter 1918 pp 240 241 a b Landmarks Preservation Commission Interior 1987 pp 15 16 a b c d e f The Last of Belasco s Legendary Duplex The New York Times July 17 1980 ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 a b c Green Adam July 16 1995 Theater The Phantom of the Belasco A Tale The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 a b Winter 1918 p 241 a b c d e Landmarks Preservation Commission Interior 1987 p 16 a b Winter 1918 pp 241 242 a b Paumgarten Nick June 26 2006 A Broadway Haunt The New Yorker Retrieved October 28 2021 Swift Christopher 2018 The City Performs An Architectural History of NYC Theater New York City College of Technology City University of New York Archived from the original on March 25 2020 Retrieved March 25 2020 Theater District New York Preservation Archive Project Archived from the original on October 19 2021 Retrieved October 12 2021 Landmarks Preservation Commission 1987 p 2 Landmarks Preservation Commission 1987 p 4 Bloom 2007 p 27 Landmarks Preservation Commission 1987 p 8 Landmarks Preservation Commission 1987 p 9 Winter 1918 p 247 Building News American Architect amp Building News Vol 90 July 7 1906 p V Archived from the original on October 28 2021 Retrieved November 4 2021 Theatres The Real Estate Record Real Estate Record and Builders Guide Vol 78 no 2010 September 22 1906 p 484 Archived from the original on October 28 2021 Retrieved November 4 2021 via columbia edu a b Belasco Files Plans Stuyvesant Theatre Will Be Ready for Occupancy Next Year New York Tribune September 19 1906 p 7 ProQuest 571707568 Belasco s Stuyvesant Theatre Plans The New York Times September 19 1906 ISSN 0362 4331 Archived from the original on October 26 2021 Retrieved October 26 2021 Winter 1918 pp 235 236 Farmers Loan Bill Passed by the House Lewis Act Affecting National Banks Causes Lively Debate The New York Times December 6 1906 ISSN 0362 4331 Archived from the original on October 26 2021 Retrieved October 26 2021 New Belasco House Cornerstone of Stuyvesant Theatre in 44th Street Laid New York Tribune December 6 1906 p 7 ProQuest 571786728 Bloom 2007 p 27 Botto amp Mitchell 2002 p 27 Bloom 2007 p 27 Landmarks Preservation Commission 1987 p 15 The Drama Warfield at the Stuyvesant Belasco s New Theatre New York Tribune October 17 1907 p 7 ProQuest 571958514 Warfield s Play a Page of Real Life Beautifully Acted A Grand Army Man Is a Success of Laughter and Tears The New York Times October 17 1907 ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 David Arthur 1908 An Intimate Auditorium PDF Architectural Record Vol 23 p 227 Archived PDF from the original on July 16 2020 Retrieved November 4 2021 Landmarks Preservation Commission 1987 p 15 a b c d Landmarks Preservation Commission 1987 p 25 a b The Warrens of Virginia Broadway Stuyvesant Theatre Playbill December 3 1907 Archived from the original on October 26 2021 Retrieved October 25 2021 a b c d e f g h i Bloom 2007 p 28 Both Devils Prosper Attract Full Houses to the Belasco and Garden Theatre New York Herald Tribune August 20 1908 p 7 ProQuest 572111387 a b Bloom 2007 p 28 Landmarks Preservation Commission 1987 p 25 Play of Much Power by a New Dramatist W J Hurlbut s The Fighting Hope Moves to Intense Climax at Stuyvesant The New York Times September 23 1908 ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 Miss Starr Triumphs in the Easiest Way a Most Affecting Performance in Tremendously Powerful Play by Eugene Walter The New York Times January 20 1909 ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 Independents Join Klaw amp Erlanger Belasco and Fiske Come to Terms With Them for Theatrical Bookings The New York Times April 30 1909 ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 a b Just a Wife Broadway Belasco Theatre Playbill April 1 1910 Archived from the original on October 27 2021 Retrieved October 25 2021 Botto amp Mitchell 2002 pp 27 28 Schrader Fred F September 25 1910 Producing Week in New York Many Changes Are Announced Producing Week in Gotham The Washington Post p MT2 ISSN 0190 8286 ProQuest 144999004 a b c d e f g h Botto amp Mitchell 2002 p 28 a b c d Landmarks Preservation Commission 1987 p 26 The Barrere Ensemble Chamber Music for Wind Instruments Played at the Belasco Theatre The New York Times November 28 1911 ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 The Trio De Lutece First Concert in the Belasco Theatre Mme Gerville Reache Sings The New York Times February 23 1914 ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 The Phantom Rival Broadway Belasco Theatre Playbill December 1 1914 Archived from the original on October 30 2021 Retrieved October 28 2021 Ditrichstein Play a Triple Triumph the Phantom Rival Adapted From Molnar Is a Comedy of Exceptional Brilliance The New York Times October 7 1914 ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 a b c d e f g h Landmarks Preservation Commission 1987 p 16 Pleasant Comedy Perfectly Played The Boomerang Draws a Wealth of Fun from the Humors of Jealousy The New York Times August 11 1915 ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 Feeney James M October 1 1915 New Method of Stage Lighting Lighting Journal Vol 3 no 10 p 217 ProQuest 128383577 a b Seven Chances Broadway George M Cohan s Theatre Playbill December 1 1916 Archived from the original on October 27 2021 Retrieved October 25 2021 a b Bloom 2007 p 28 Landmarks Preservation Commission 1987 p 27 a b Polly with a Past Broadway Belasco Theatre Playbill June 1 1918 Archived from the original on October 27 2021 Retrieved October 25 2021 a b Bloom 2007 p 28 Botto amp Mitchell 2002 p 28 a b c Landmarks Preservation Commission 1987 pp 27 28 Lenore Ulric Broadway Star Of Belasco Era Is Dead at 78 The New York Times December 31 1970 ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 Woollcott Alexander December 24 1920 THE PLAY At the Belasco Theatre The New York Times ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 a b Deburau Broadway Belasco Theatre Playbill June 4 1921 Archived from the original on October 30 2021 Retrieved October 28 2021 Kiki Broadway Belasco Theatre Playbill May 1 1922 Archived from the original on October 26 2021 Retrieved October 28 2021 a b Lulu Belle Broadway Belasco Theatre Playbill February 22 1926 Archived from the original on October 27 2021 Retrieved October 26 2021 a b c Bloom 2007 p 28 Landmarks Preservation Commission 1987 p 28 Alterations in Belasco Theatre The New York Times September 22 1928 ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 Bloom 2007 p 28 Landmarks Preservation Commission 1987 p 16 Tonight or Never Is Agreeable Play Helen Gahagan Plays Well in Artificial Comedy From the Hungarian at the Belasco Theatre The New York Times November 19 1930 ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 Belasco s Broadway Visit To See Play Tonight or Never for First Time Since Illness The New York Times March 18 1931 ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 Photo Times Wide World May 15 1931 David Belasco Dies Dean of Theatre 76 Had Long Been Ill Stage Genius Who Is Dead at 76 The New York Times ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 Belasco s Estate Goes to Daughter Mrs Morris Gest Gets Life Income Jewelry Library and 60 of Play Receipts The New York Times May 20 1931 ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 Katharine Cornell Leases the Belasco With Her Husband Guthrie McClintic She Takes Theatre for Two Years The New York Times August 1 1931 ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 Actress Stars Own Managers in Repertory Chicago Daily Tribune August 2 1931 p C6 ProQuest 181261984 Legitimate 800 000 Set as Present Valuation of Belasco Variety Vol 103 no 9 August 11 1931 p 54 ProQuest 1529269527 a b Botto amp Mitchell 2002 p 29 a b c Landmarks Preservation Commission 1987 p 29 Botto amp Mitchell 2002 pp 28 29 Belasco Theatre Sold Mrs Elmer Rice Wife of Playwright Buys 44th St Property The New York Times August 2 1934 ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 Acer Cecilia August 14 1934 Legitimate Mrs Rice Running Belasco Herself Wants Efficiency and Hubby s Plays Variety Vol 115 no 9 p 44 ProQuest 1475868237 a b Feature News Belasco Theater Foreclosed The Billboard Vol 48 no 9 February 29 1936 p 5 ProQuest 1032091712 a b c Landmarks Preservation Commission 1987 p 14 Belasco Theatre Reverts To Estate Next Month New York Daily News February 7 1936 p 44 ISSN 2692 1251 Archived from the original on October 28 2021 Retrieved October 28 2021 via newspapers com Belasco Estate Takes Theater In Foreclosure Bids 50 000 for West 44th Street Realty Formerly Held by Mrs Elmer Rice New York Herald Tribune March 4 1936 p 34 ProQuest 1330796035 Theatre Taken Back by Belasco Estate 44th Street Structure Held by Wife of Playwright Is Bid in at Auction Sale The New York Times March 4 1936 ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 Bloom 2007 p 28 Botto amp Mitchell 2002 p 29 News of the Stage Gold Eagle Guy to Move to Belasco Where Group May Stay Kaufman Ryskind Play Shelved The New York Times December 15 1934 ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 Botto amp Mitchell 2002 pp 29 30 a b Dead End Broadway Belasco Theatre Playbill November 18 1935 Archived from the original on October 26 2021 Retrieved October 26 2021 News of the Stage Dead End and Two Others Are Closing This Evening Events of the Local and Summer Stage The New York Times June 12 1937 ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 a b c d e f Franklin Marc J April 6 2020 Step Inside Broadway s Belasco Theatre Playbill Archived from the original on October 28 2021 Retrieved October 28 2021 a b c Bloom 2007 p 28 Botto amp Mitchell 2002 p 30 Atkinson Brooks February 1 1940 The Play John Barrymore Returns to New York After 17 Years Acts Chief Part in My Dear Children The New York Times ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 Botto amp Mitchell 2002 p 30 John Wildberg Syndicate Buys Belasco Theater Historic House 16 Sold for S300 000 With 17 000 Stanford White Fireplace New York Herald Tribune May 8 1944 p 7A ProQuest 1282857866 Zolotow Sam May 8 1944 Hickory Stick Set to Arrive Tonight Play About Vocational School Will Open at Mansfield Belasco Theatre Sold The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 News of the Theater Jelin Productions Leases Belasco Will Open Navy Comedy There in August New York Herald Tribune July 19 1944 p 14A ProQuest 1337077406 Zolotow Sam July 19 1944 Max Jelin Leases Belasco Theatre Will Control House 2 Years He Plans Production There of Bidwell s Lower North The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Nichols Lewis December 30 1944 The Play Trio From the Novel by Dorothy Baker Finally Opens on Broadway at the Belasco The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Trio to Close Tonight Producer of Show Attacked by Bonnell Blames Moss The New York Times February 24 1945 ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Zolotow Sam January 29 1946 News of the Stage Max Jelin Regains Use of the Belasco From Which He Was Evicted in February by the Owners The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 a b c d e f g Bloom 2007 p 28 Botto amp Mitchell 2002 p 31 Barranger Milly S 2008 Unfriendly Witnesses Gender Theater and Film in the McCarthy Era Theater in the Americas Southern Illinois University Press p 12 ISBN 978 0 8093 2876 5 Archived from the original on October 29 2021 Retrieved November 4 2021 Manso Peter 1994 Brando the biography New York Hyperion pp 67 73 ISBN 978 0 7868 6063 0 a b c Bloom 2007 p 28 Botto amp Mitchell 2002 p 31 Landmarks Preservation Commission 1987 p 16 Zolotow Sam February 14 1946 Home of Brave to Leave Belasco Laurents War Play Will Quit House Feb 23 Producers Aim to Keep It Going The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Botto amp Mitchell 2002 p 31 Landmarks Preservation Commission 1987 p 16 Atkinson Brooks February 27 1948 The Theatre Gertrude Berg Brings Some of the Goldbergs to the Belasco Stage in Me and Molly The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Zolotow Sam December 27 1948 Giraudoux Comedy to Arrive Tonight The Madwoman of Chaillot Adapted by Maurice Valency Will Be Seen at Belasco The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Legitimate Max Jelin Defends Refusal to Vacate Belasco Theater The Billboard Vol 59 no 40 October 11 1947 p 48 ProQuest 1040100258 Apartment Blast Kills Theatre Man Death of Max J Jelin Listed as Apparent Suicide 3 Suites in New Building Ruined The New York Times January 23 1948 ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 a b Zolotow Sam November 1 1948 Belasco Theatre Has New Owners 442 000 Reported as Price of House to Be Managed and Booked by Shuberts The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Legitimate Shuberts Buy the Belasco The Billboard Vol 60 no 46 November 13 1948 p 55 ProQuest 1039933052 Calta Louis June 21 1949 Belasco Theatre Is Sought by NBC Radio Firm and the Shuberts Negotiating Lease Spanish Revue Arrives July 7 The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Radio Legit to AM TV Scorecard Variety Vol 179 no 9 August 9 1950 p 27 ProQuest 1285972745 Radio and Television Theatre Guild on the Air to Star Helen Hayes and David Niven in Nov 13 Program The New York Times November 3 1949 ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 N B C Symphony on Air Morel Directs a Concert for Radio in Belasco Theatre The New York Times May 13 1951 ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Calta Louis November 5 1953 Miss Hull Returns in Comedy Tonight Veteran Actress Is Starring in The Solid Gold Cadillac Satire on Big Business The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 a b c d e Botto amp Mitchell 2002 p 31 a b The Flowering Peach Broadway Belasco Theatre Playbill December 28 1954 Archived from the original on October 26 2021 Retrieved October 26 2021 a b Will Success Spoil Rock Hunter Broadway Belasco Theatre Playbill July 9 1956 Archived from the original on October 27 2021 Retrieved October 26 2021 a b Nude with Violin Broadway Belasco Theatre Playbill February 8 1958 Archived from the original on October 28 2021 Retrieved October 26 2021 Gelb Arthur December 5 1960 Agee Mosel Play Gains a Reprieve All the Way Home Delays Closing a Week Bob Fosse Quits Conquering Hero The New York Times ISSN 0362 4331 Archived from the original on October 30 2021 Retrieved October 29 2021 a b All the Way Home Broadway Belasco Theatre Playbill September 16 1961 Archived from the original on October 26 2021 Retrieved October 26 2021 a b Write Me a Murder Broadway Belasco Theatre Playbill April 14 1962 Archived from the original on October 28 2021 Retrieved October 26 2021 Seidman and Son Broadway Belasco Theatre Playbill April 20 1963 Archived from the original on November 2 2021 Retrieved October 29 2021 The Last Analysis Broadway Belasco Theatre Playbill October 24 1964 Archived from the original on October 29 2021 Retrieved October 29 2021 a b Inadmissible Evidence Broadway Sam S Shubert Theatre Playbill February 7 1966 Archived from the original on October 26 2021 Retrieved October 26 2021 a b The Subject Was Roses Broadway Royale Theatre Playbill February 1 1966 Archived from the original on May 10 2021 Retrieved October 26 2021 Bloom 2007 p 28 Botto amp Mitchell 2002 p 31 Landmarks Preservation Commission 1987 p 17 a b The Killing of Sister George Broadway Belasco Theatre Playbill March 1 1967 Archived from the original on October 26 2021 Retrieved October 26 2021 a b McClintock Pamela October 7 2019 The Irishman Netflix Books Broadway s Belasco Theatre The Hollywood Reporter The Hollywood Reporter Archived from the original on October 28 2021 Retrieved October 28 2021 a b c d e f Bloom 2007 p 28 Botto amp Mitchell 2002 p 33 a b Bloom 2007 p 28 Botto amp Mitchell 2002 p 33 Landmarks Preservation Commission 1987 p 17 a b Oh Calcutta Broadway Eden Theatre Playbill February 26 1971 Archived from the original on October 28 2021 Retrieved October 26 2021 a b c d e f g h i j k Botto amp Mitchell 2002 p 33 a b The Rocky Horror Show Broadway Belasco Theatre Playbill November 15 2000 Archived from the original on October 26 2021 Retrieved October 26 2021 a b Kirby Fred August 11 1976 Music Records B way s Belasco Theatre Ready To Go Legit Again As Cabaret Variety Vol 284 no 1 p 45 ProQuest 1401294285 An Almost Perfect Person Broadway Belasco Theatre Playbill January 28 1978 Archived from the original on October 29 2021 Retrieved October 29 2021 a b c Bloom 2007 p 28 Landmarks Preservation Commission 1987 p 37 a b The Goodbye People Broadway Belasco Theatre Playbill December 3 1968 Archived from the original on October 26 2021 Retrieved October 26 2021 Hide and Seek Broadway Belasco Theatre Playbill June 3 1979 Archived from the original on October 29 2021 Retrieved October 29 2021 Bloom 2007 p 28 Landmarks Preservation Commission 1987 p 17 a b Ain t Misbehavin Broadway Longacre Theatre Playbill January 26 1981 Archived from the original on October 28 2021 Retrieved October 26 2021 a b Botto amp Mitchell 2002 p 33 Landmarks Preservation Commission 1987 p 17 a b Accidental Death of an Anarchist Broadway Belasco Theatre Playbill December 1 1984 Archived from the original on November 2 2021 Retrieved October 29 2021 a b c Dunlap David W November 18 1986 Belasco Theater Air Rights Leased to Give Builder 11 More Stories The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Kubasik Ben Scaduto Anthony December 12 1985 Inside New York Newsday p 6 ISSN 2574 5298 Archived from the original on November 4 2021 Retrieved October 29 2021 via newspapers com Kubasik Ben November 13 1986 Bard in the Schools Launched Newsday p 203 ISSN 2574 5298 Archived from the original on October 29 2021 Retrieved October 29 2021 via newspapers com Aid for Shakespeare Project The New York Times October 8 1986 ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Shakespeare for City Students Newsday October 8 1986 p 21 ISSN 2574 5298 Archived from the original on October 29 2021 Retrieved October 29 2021 via newspapers com Bennetts Leslie April 22 1986 Theater Gets Raves for Decor The New York Times ISSN 0362 4331 Retrieved January 2 2022 Douglas Carlyle C Connelly Mary November 23 1986 The Region Theater Sells Air Rights The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Gerard Jeremy February 4 1987 Theaters Cut Costs and Cross Fingers The New York Times ISSN 0362 4331 Retrieved November 5 2021 Dunlap David W October 20 1982 Landmark Status Sought for Theaters The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Shepard Joan August 28 1985 Is the final curtain near New York Daily News pp 462 464 ISSN 2692 1251 Archived from the original on September 21 2021 Retrieved September 16 2021 via newspapers com Legitimate Landmarks Panel Names 5 Theaters Variety Vol 329 no 3 November 11 1987 p 93 ProQuest 1286133538 Dunlap David W November 5 1987 5 More Broadway Theaters Classified as Landmarks The New York Times ISSN 0362 4331 Archived from the original on December 14 2019 Retrieved October 29 2021 Dunlap David W November 22 1987 The Region The City Casts Its Theaters In Stone The New York Times ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 16 2021 Purdum Todd S March 12 1988 28 Theaters Are Approved as Landmarks The New York Times ISSN 0362 4331 Retrieved November 20 2021 Dunlap David W June 21 1988 Owners File Suit to Revoke Theaters Landmark Status The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Dunlap David W May 27 1992 High Court Upholds Naming Of 22 Theaters as Landmarks The New York Times ISSN 0362 4331 Archived from the original on October 30 2021 Retrieved October 29 2021 Rothstein Mervyn June 27 1990 Broadway Adopts A Plan to Cut Costs And Ticket Prices The New York Times ISSN 0362 4331 Retrieved September 11 2022 Rothstein Mervyn January 18 1991 In Rehearsal Broadway At Cut Prices The New York Times ISSN 0362 4331 Retrieved September 11 2022 a b c The Crucible Broadway Belasco Theatre Playbill Archived from the original on October 28 2021 Retrieved October 26 2021 a b c Collins Glenn November 27 1991 Tony Randall Casts Himself As a Theater s Guiding Spirit The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Gelder Lawrence Van March 18 1994 Review Theater The Beatles All of Them With Elvis And Liberace The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Simonson Robert August 16 1996 Option to Buy Belasco Theatre Being Considered Back Stage Vol 37 no 33 pp 36 39 ProQuest 963059727 a b c d e f Botto amp Mitchell 2002 p 34 a b James Joyce s The Dead Broadway Belasco Theatre Playbill Archived from the original on October 28 2021 Retrieved October 26 2021 a b Follies Broadway Belasco Theatre Playbill Archived from the original on October 16 2021 Retrieved October 26 2021 a b Frankie and Johnny in the Clair de Lune Broadway Belasco Theatre Playbill Archived from the original on October 26 2021 Retrieved October 26 2021 Frankie and Johnny Is Closing Sunday The New York Times March 8 2003 ISSN 0362 4331 Archived from the original on October 30 2021 Retrieved October 29 2021 Tavernise Sabrina September 26 2003 Shuberts Revamp 16 Theaters Improving Access for Disabled The New York Times ISSN 0362 4331 Retrieved January 9 2022 Broadway theaters accessible to disabled Press and Sun Bulletin September 28 2003 p 68 Retrieved January 9 2022 Merwin Ted April 16 2006 The Return of the Chocolate Covered Herring The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Itzkoff Dave December 27 2008 Joe Turner Revival Gets a Theater The New York Times ISSN 0362 4331 Archived from the original on October 30 2021 Retrieved October 29 2021 a b Women on the Verge of a Nervous Breakdown Broadway Belasco Theatre Playbill Archived from the original on October 28 2021 Retrieved October 26 2021 a b Hedwig and the Angry Inch Broadway Belasco Theatre Playbill Archived from the original on October 27 2021 Retrieved October 26 2021 Evans Greg October 7 2019 Netflix s The Irishman To Make Month Long Broadway Stand Martin Scorsese Film To Play The Belasco Deadline Archived from the original on October 7 2019 Retrieved October 7 2019 Coleman Nancy November 4 2019 The Irishman on Broadway Phone Booths Broadsheets and Jimmy Hoffa Stickers The New York Times ISSN 0362 4331 Archived from the original on October 28 2021 Retrieved October 28 2021 a b Girl From the North Country Broadway Belasco Theatre Playbill October 13 2021 Archived from the original on October 5 2021 Retrieved October 25 2021 Paulson Michael March 12 2020 Broadway Symbol of New York Resilience Shuts Down Amid Virus Threat The New York Times ISSN 0362 4331 Archived from the original on September 16 2021 Retrieved October 22 2021 New Musical Girl From The North Country Featuring Songs By Bob Dylan Reopens On Broadway CBS New York Breaking News Sports Weather Traffic And The Best of NY October 14 2021 Archived from the original on October 26 2021 Retrieved October 25 2021 Moynihan Caitlin October 15 2021 Watch the Cast of Girl From the North Country Perform a Bob Dylan Medley in Times Square Broadway com Archived from the original on October 26 2021 Retrieved October 25 2021 Gans Andrew January 12 2022 To Kill a Mockingbird Sets Closing Date on Broadway But Will Re Open This Summer Playbill Retrieved January 13 2022 Paulson Michael January 12 2022 Mockingbird Once a Broadway Smash to Pause Production Amid Omicron The New York Times ISSN 0362 4331 Retrieved January 13 2022 Girl From the North Country Will Reopen on Broadway in April Playbill Retrieved March 27 2022 a b Ain t No Mo Broadway Belasco Theatre 2022 Playbill July 11 2022 Retrieved July 17 2022 The Broadway League Ain t No Mo Broadway Play Original IBDB Retrieved July 17 2022 a b Vincentelli Elisabeth December 2 2022 Ain t No MoReview After Great Tribulation an Exodus of Black Citizens The New York Times ISSN 0362 4331 Retrieved December 5 2022 a b The Broadway League Good Night Oscar Broadway Play Original IBDB Retrieved December 5 2022 Good Night Oscar Broadway Belasco Theatre 2023 Playbill September 19 2022 Retrieved December 5 2022 a b Green Jesse April 25 2023 Good Night Oscar Review Sean Hayes With Demerol and Cadenzas The New York Times ISSN 0362 4331 Retrieved April 26 2023 a b The Broadway League How to Dance in Ohio Broadway Musical Original IBDB Retrieved September 8 2023 How to Dance in Ohio Broadway Belasco Theatre 2023 Playbill July 20 2023 Retrieved September 8 2023 a b Paulson Michael July 20 2023 How to Dance in Ohio a Musical Plans a Fall Broadway Opening The New York Times ISSN 0362 4331 Retrieved September 8 2023 a b c d Viagas Robert October 30 2014 Scandals and Secrets of the Supernatural The Stories Behind Broadway s Haunted Theatres Playbill Archived from the original on October 29 2021 Retrieved October 29 2021 a b c d The Haunting of Broadway s Spirited Belasco Theatre Curbed NY October 28 2013 Archived from the original on October 29 2021 Retrieved October 29 2021 Grimes William October 29 1993 A Gang of Ghosts Ready To Rumble The New York Times ISSN 0362 4331 Archived from the original on October 19 2021 Retrieved October 29 2021 a b c Belasco s Ghost Museum of the City of New York November 8 2011 Archived from the original on October 30 2021 Retrieved October 30 2021 Stasio Marilyn April 22 2014 Broadway Review Hedwig and the Angry Inch Starring Neil Patrick Harris Variety Archived from the original on May 18 2018 Retrieved May 18 2018 The Broadway League Belasco Theatre New York NY IBDB Retrieved January 4 2023 The Broadway League August 18 1908 The Devil Broadway Play Original IBDB Archived from the original on October 28 2021 Retrieved October 28 2021 The Concert Broadway Belasco Theatre Playbill May 1 1911 Archived from the original on October 27 2021 Retrieved October 25 2021 Landmarks Preservation Commission 1987 p 27 Hit the Deck Broadway Belasco Theatre Playbill May 16 1927 Archived from the original on October 28 2021 Retrieved October 26 2021 The Truth About Blayds Broadway Belasco Theatre Playbill March 14 1922 Archived from the original on October 28 2021 Retrieved October 26 2021 Criminal at Large Broadway Belasco Theatre Playbill October 10 1932 Archived from the original on October 26 2021 Retrieved October 26 2021 a b Bloom 2007 p 28 Landmarks Preservation Commission 1987 pp 29 30 Awake and Sing Broadway Belasco Theatre Playbill September 9 1935 Archived from the original on October 28 2021 Retrieved October 26 2021 Landmarks Preservation Commission 1987 pp 29 30 Waiting for Lefty Broadway Longacre Theatre Playbill Archived from the original on October 26 2021 Retrieved October 26 2021 a b Landmarks Preservation Commission 1987 p 30 Golden Boy Broadway Belasco Theatre Playbill March 12 1952 Archived from the original on October 26 2021 Retrieved October 26 2021 Rocket to the Moon Broadway Belasco Theatre Playbill December 26 1938 Archived from the original on October 28 2021 Retrieved October 26 2021 Bloom 2007 p 28 Landmarks Preservation Commission 1987 p 30 Johnny Belinda Broadway Belasco Theatre Playbill Archived from the original on October 26 2021 Retrieved October 26 2021 a b c d e Landmarks Preservation Commission 1987 p 31 The Man with Blond Hair Broadway Belasco Theatre Playbill November 8 1941 Archived from the original on October 28 2021 Retrieved October 26 2021 Clash by Night Broadway Belasco Theatre Playbill December 29 1941 Archived from the original on October 27 2021 Retrieved October 26 2021 Nathan the Wise Broadway Belasco Theatre Playbill Archived from the original on October 28 2021 Retrieved October 26 2021 Magic Hello Out There Broadway Belasco Theatre Playbill November 7 1942 Archived from the original on October 28 2021 Retrieved October 26 2021 Dark Eyes Broadway Belasco Theatre Playbill May 23 1943 Archived from the original on October 28 2021 Retrieved October 26 2021 a b Bloom 2007 p 28 Landmarks Preservation Commission 1987 p 32 Kiss Them for Me Broadway Belasco Theatre Playbill Archived from the original on October 28 2021 Retrieved October 26 2021 Home of the Brave Broadway Belasco Theatre Playbill February 18 1946 Archived from the original on October 26 2021 Retrieved October 26 2021 a b Landmarks Preservation Commission 1987 p 32 Truckline Cafe Broadway Belasco Theatre Playbill March 9 1946 Archived from the original on October 28 2021 Retrieved October 26 2021 Lysistrata Broadway Belasco Theatre Playbill October 17 1946 Archived from the original on October 26 2021 Retrieved October 26 2021 a b Landmarks Preservation Commission 1987 p 33 Sundown Beach Broadway Belasco Theatre Playbill September 11 1948 Archived from the original on October 26 2021 Retrieved October 26 2021 a b c Bloom 2007 p 28 Landmarks Preservation Commission 1987 p 33 Me and Molly Broadway Belasco Theatre Playbill February 26 1948 Archived from the original on October 28 2021 Retrieved October 26 2021 The Madwoman of Chaillot Broadway Belasco Theatre Playbill August 22 1949 Archived from the original on October 26 2021 Retrieved October 26 2021 Fanny Broadway Majestic Theatre Playbill December 4 1956 Archived from the original on October 26 2021 Retrieved October 26 2021 a b c d Landmarks Preservation Commission 1987 p 34 The First Gentleman Broadway Belasco Theatre Playbill May 18 1957 Archived from the original on October 28 2021 Retrieved October 26 2021 Present Laughter Broadway Belasco Theatre Playbill December 1 1957 Archived from the original on October 28 2021 Retrieved October 26 2021 A Raisin in the Sun Broadway Ethel Barrymore Theatre Playbill October 19 1959 Archived from the original on October 27 2021 Retrieved October 26 2021 Bloom 2007 p 28 Landmarks Preservation Commission 1987 p 34 a b c Landmarks Preservation Commission 1987 p 35 The Seagull Broadway Belasco Theatre Playbill May 20 1916 Archived from the original on October 27 2021 Retrieved October 26 2021 The Crucible Broadway Belasco Theatre Playbill January 22 1953 Archived from the original on October 27 2021 Retrieved October 26 2021 Bloom 2007 p 28 Landmarks Preservation Commission 1987 p 35 a b Landmarks Preservation Commission 1987 p 36 a b c Bloom 2007 p 28 Landmarks Preservation Commission 1987 p 36 Dr Cook s Garden Broadway Belasco Theatre Playbill September 30 1967 Archived from the original on October 26 2021 Retrieved October 26 2021 Don t Drink the Water Broadway Morosco Theatre Playbill March 25 1968 Archived from the original on October 28 2021 Retrieved October 26 2021 Does a Tiger Wear a Necktie Broadway Belasco Theatre Playbill March 29 1969 Archived from the original on November 18 2018 Retrieved October 26 2021 a b Landmarks Preservation Commission 1987 p 37 American Buffalo Broadway Belasco Theatre Playbill October 31 2008 Archived from the original on October 27 2021 Retrieved October 26 2021 Your Arms Too Short to Box with God Broadway Ambassador Theatre Playbill September 9 1980 Archived from the original on October 28 2021 Retrieved October 26 2021 Bloom 2007 p 28 Landmarks Preservation Commission 1987 p 38 Landmarks Preservation Commission 1987 p 38 Marcel Marceau on Broadway Broadway Belasco Theatre Playbill June 6 1982 Archived from the original on October 26 2021 Retrieved October 26 2021 Romeo and Juliet Broadway Belasco Theatre Playbill Archived from the original on October 26 2021 Retrieved October 26 2021 As You Like It Broadway Belasco Theatre Playbill Archived from the original on October 26 2021 Retrieved October 26 2021 Macbeth Broadway Belasco Theatre Playbill Archived from the original on October 28 2021 Retrieved October 26 2021 The Master Builder Broadway Belasco Theatre Playbill Archived from the original on October 26 2021 Retrieved October 26 2021 Hamlet Broadway Belasco Theatre Playbill Archived from the original on October 28 2021 Retrieved October 26 2021 Botto amp Mitchell 2002 pp 33 34 A Doll s House Broadway Belasco Theatre Playbill Archived from the original on October 28 2021 Retrieved October 26 2021 Honour Broadway Belasco Theatre Playbill Archived from the original on October 27 2021 Retrieved October 26 2021 Ring Round the Moon Broadway Belasco Theatre Playbill Archived from the original on October 28 2021 Retrieved October 26 2021 Frankie and Johnny Is Closing Sunday The New York Times March 8 2003 ISSN 0362 4331 Archived from the original on November 4 2021 Retrieved October 29 2021 Enchanted April Broadway Belasco Theatre Playbill Archived from the original on October 28 2021 Retrieved October 26 2021 Theater the Tony Awards Enchanted April Take Me Out Gracie to Enchanged Brixton The New York Times June 1 2003 ISSN 0362 4331 Archived from the original on November 4 2021 Retrieved October 29 2021 Dracula the Musical Broadway Belasco Theatre Playbill Archived from the original on October 28 2021 Retrieved October 26 2021 McKinley Jesse December 9 2004 Arts Briefly Broadway Bloodletting The New York Times ISSN 0362 4331 Archived from the original on October 30 2021 Retrieved October 29 2021 Julius Caesar Broadway Belasco Theatre Playbill Archived from the original on October 28 2021 Retrieved October 26 2021 Brantley Ben April 4 2005 A Big Name Brutus in a Caldron of Chaos The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Awake and Sing Broadway Belasco Theatre Playbill Archived from the original on October 28 2021 Retrieved October 26 2021 Isherwood Charles April 18 2006 Defying Poverty s Everyday Despair in Odets s Awake and Sing The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Journey s End Broadway Belasco Theatre Playbill Archived from the original on October 27 2021 Retrieved October 26 2021 Green Jesse June 3 2007 A Haunting Curtain Call The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Passing Strange Broadway Belasco Theatre Playbill Archived from the original on October 26 2021 Retrieved October 26 2021 Steinberg Jacques July 11 2008 The End of the Road for Passing Strange The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 American Buffalo Broadway Belasco Theatre Playbill Archived from the original on October 27 2021 Retrieved October 26 2021 Itzkoff Dave November 20 2008 American Buffalo Goes The Way of the Buffalo ArtsBeat Archived from the original on October 29 2021 Retrieved October 29 2021 Joe Turner s Come and Gone Broadway Belasco Theatre Playbill Archived from the original on October 26 2021 Retrieved October 26 2021 Isherwood Charles May 13 2009 Rejoice Joe Turner Came Back The New York Times ISSN 0362 4331 Archived from the original on October 30 2021 Retrieved October 29 2021 Piepenburg Erik December 28 2010 Women on the Verge of an Early Closing ArtsBeat Archived from the original on October 29 2021 Retrieved October 29 2021 Kathy Griffin Wants a Tony Broadway Belasco Theatre Playbill Archived from the original on October 26 2021 Retrieved October 26 2021 Itzkoff Compiled by Dave March 14 2011 Footnotes The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 End of the Rainbow Broadway Belasco Theatre Playbill Archived from the original on October 28 2021 Retrieved October 26 2021 Rohter Larry July 31 2012 It s the End for End of the Rainbow The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Golden Boy Broadway Belasco Theatre Playbill Archived from the original on October 26 2021 Retrieved October 26 2021 Gates Anita December 6 2012 Dramatic Nuggets With a Certain Glow The New York Times ISSN 0362 4331 Archived from the original on October 30 2021 Retrieved October 29 2021 Twelfth Night Richard III Broadway Belasco Theatre Playbill Archived from the original on October 27 2021 Retrieved October 26 2021 Cooper Michael November 29 2013 Is This a Sackbut I Hear Before Me The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 Heller Scott August 18 2015 Hedwig and the Angry Inch Sets Broadway Closing Date ArtsBeat Archived from the original on October 29 2021 Retrieved October 29 2021 Blackbird Broadway Belasco Theatre Playbill Archived from the original on October 28 2021 Retrieved October 26 2021 Brantley Ben March 11 2016 Review Blackbird The Past Returns Taunting The New York Times ISSN 0362 4331 Archived from the original on October 29 2021 Retrieved October 29 2021 The Glass Menagerie Broadway Belasco Theatre Playbill Archived from the original on October 26 2021 Retrieved October 26 2021 Brantley Ben March 10 2017 Review Dismantling The Glass Menagerie The New York Times ISSN 0362 4331 Archived from the original on October 26 2021 Retrieved October 26 2021 Michael Moore The Terms of My Surrender Broadway Belasco Theatre Playbill Archived from the original on October 28 2021 Retrieved October 26 2021 Green Jesse August 11 2017 Review Michael Moore Bragging on Broadway in The Terms of My Surrender The New York Times ISSN 0362 4331 Archived from the original on October 26 2021 Retrieved October 26 2021 Farinelli and the King Broadway Belasco Theatre Playbill December 5 2017 Archived from the original on October 28 2021 Retrieved October 26 2021 Brantley Ben December 18 2017 Review Mark Rylance Returns as a Mad Monarch to Cherish in Farinelli The New York Times ISSN 0362 4331 Archived from the original on October 26 2021 Retrieved October 26 2021 Gettin the Band Back Together Broadway Belasco Theatre Playbill July 19 2018 Archived from the original on October 26 2021 Retrieved October 26 2021 Green Jesse August 14 2018 Review Familiar Rock Dreams in Gettin the Band Back Together The New York Times ISSN 0362 4331 Archived from the original on October 26 2021 Retrieved October 26 2021 Network Broadway Belasco Theatre Playbill November 10 2018 Archived from the original on October 27 2021 Retrieved October 26 2021 Brantley Ben December 7 2018 Review In Network an Electrifying Bryan Cranston Is All the Rage The New York Times ISSN 0362 4331 Archived from the original on October 26 2021 Retrieved October 26 2021 Brantley Ben March 6 2020 Girl From the North Country Review Bob Dylan s Amazing Grace The New York Times ISSN 0362 4331 Archived from the original on October 26 2021 Retrieved October 25 2021 Sources edit Belasco Theater PDF Report New York City Landmarks Preservation Commission November 4 1987 Belasco Theater Interior PDF Report New York City Landmarks Preservation Commission November 4 1987 Bloom Ken 2007 The Routledge Guide to Broadway 1st ed New York Routledge pp 27 28 ISBN 978 0 415 97380 9 Botto Louis Mitchell Brian Stokes 2002 At This Theatre 100 Years of Broadway Shows Stories and Stars New York Milwaukee WI Applause Theatre amp Cinema Books Playbill pp 27 35 ISBN 978 1 55783 566 6 Marker Lise Lone 1975 David Belasco Naturalism in the American Theatre Princeton New Jersey Princeton University Press ISBN 978 1 4008 7026 4 The Stuyvesant Theatre George Keister Architect Architects and Builders Magazine Vol 40 no 2 November 1907 pp 85 89 Winter William 1918 The Life of David Belasco Vol 2 Jefferson Winter ISBN 978 1 4047 7775 0 External links edit nbsp spa, wikipedia, wiki, book, books, library,

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