Mr. Azenberg's producing credits on Broadway include Ragtime, The Lion in Winter, Mark Twain Tonight, Ain't Misbehavin', Children of a Lesser God, Master Harold...and the boys, Stoppard's The Real Thing, A Moon for the Misbegotten, Sunday in the Park With George, Whoopi Goldberg, Long Day's Journey into Night, Jerome Robbins' Broadway, Side Show, The Iceman Cometh, Stones in His Pockets, Private Lives and Movin' Out.
He has produced Neil Simon's work since 1972, including The Odd Couple,The Sunshine Boys, Chapter Two, They're Playing Our Song, Brighton Beach Memoirs, Biloxi Blues, Broadway Bound, Lost in Yonkers.
Film: Rosencrantz and Guildenstern Are ... read more
Helen Gallagher received her first Tony Award in 1952 for her memorable performance as Gladys Bumps in the original Broadway company of the musical Pal Joey. She went on to win a second Tony in 1971 for her grandiose turn in the musical No, No, Nanette.
Offstage, Helen was the winner of three Emmys for her role as Maeve Ryan in the long-running soap opera Ryan's Hope. As an active professional, she studied weekly with HB Studio Master Teacher Uta Hagen and was an instructor of Singing for the Musical Theater at HB Studio.
Helen's other Broadway credits included runs in Sugar ... read more
He first worked on Broadway as a second assistant set designer to Jo Mielziner on The Most Happy Fella in 1956. Lee's first Broadway play as Scenic Designer was The Moon Besieged in 1962; he went on to design the sets for over 20 Broadway shows, including Mother Courage and Her Children, King Lear, The Glass Menagerie, The Shadow Box, and For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf. He won the Drama Desk Award for Outstanding Set Design, a Helen Hayes Award, and in 1983 he received a Tony Award for Best Scenic Design for ... read more
GAIL MERRIFIELD PAPP was born in San Francisco into a family with a deep theater lineage. Inspired by parents who were editors and writers, Gail originally began a career in publishing, but then decided to reinvent herself by looking for a job in the theater.
Gail’s sole inspiration for this course correction was the fact that in the 19th and early 20th centuries five generations of women in her family had been actors – Aunt, Great-aunt, Grandmother, Great-grandmother, and Great-great-grandmother. She wasn’t an actor herself, but Gail felt that identifying in some way with their theatrical profession could restore her ... read more
