Terrence McNally

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Terrence McNally
Terrence McNally.jpg
Born (1938-11-03) November 3, 1938 (age 80)
St. Petersburg, Florida, U.S.
OccupationPlaywright, librettist
EducationB. A. in English
Alma materColumbia University
Period1964–present
Spouse
Tom Kirdahy (m. 2010)

Terrence McNally (born November 3, 1938) is an American playwright, librettist, and screenwriter.

McNally has been described as "a probing and enduring dramatist"[1] and "one of the greatest contemporary playwrights the theater world has yet produced".[2] He has received the Tony Award for Best Play for Love! Valour! Compassion! and Master Class, as well as the Tony Award for Best Book of a Musical for Kiss of the Spider Woman and Ragtime.[3][4] His other accolades include an Emmy Award, two Guggenheim Fellowships, a Rockefeller Grant, four Drama Desk Awards, two Lucille Lortel Awards, two Obie Awards, three Hull-Warriner Awards, and a citation from the American Academy of Arts and Letters.[5] He is a recipient of the Dramatists Guild Lifetime Achievement Award as well as the Lucille Lortel Lifetime Achievement Award.[6] In 2016, the Lotos Club honored McNally at their annual "State Dinner," which has previously honored such luminaries as W.S. Gilbert and Arthur Sullivan, George M. Cohan, Moss Hart, Richard Rodgers and Oscar Hammerstein, Saul Bellow, and Arthur Miller.[7] In addition to his award-winning plays and musicals, he also written two operas, multiple screenplays, teleplays, and a memoir.[8][9]

He has been a member of the Council of the Dramatists Guild since 1970 and served as vice-president from 1981 to 2001, and was inducted into the American Theater Hall of Fame in 1996.[10] In 1998, McNally was awarded an honorary degree from The Juilliard School in recognition for reviving The Lily Acheson Wallace American Playwrights Program with the playwright, John Guare.[11] In 2013, he returned to his alma mater, Columbia University, where he was the keynote speaker of the graduating class of 2013 on Class Day.[12] He is a 2018 inductee of the American Academy of Arts and Letters. The honor of election is considered the highest form of recognition of artistic merit in the United States.[13]

He has a career spanning six decades, and his plays, musicals, and operas are routinely performed all over the world.[14] The diversity and range of his work is remarkable, with McNally resisting identification with any particular cultural scene. Simultaneously active in the regional and off-Broadway theatre movements as well as Broadway, he is one of the few playwrights of his generation to have successfully passed from the avant-garde to mainstream acclaim.[11] His work centers on the difficulties of and urgent need for human connection. For McNally, the most important function of theatre is to create community by bridging rifts opened between people by difference in religion, race, gender, and particularly sexual orientation.[15]

In an address to members of the League of American Theatres and Producers he remarked, "I think theatre teaches us who we are, what our society is, where we are going. I don't think theatre can solve the problems of a society, nor should it be expected to ... Plays don't do that. People do. [But plays can] provide a forum for the ideas and feelings that can lead a society to decide to heal and change itself."[16]

Early life and education[edit]

McNally was born in St. Petersburg, Florida, to Hubert and Dorothy (Rapp) McNally, two transplanted New Yorkers who ran a seaside bar and grill called The Pelican Club, but after a hurricane destroyed the establishment, the family briefly relocated to Port Chester, NY, then to Dallas, TX and finally to Corpus Christi, TX where he remained until McNally moved to New York City in 1956 to attend Columbia University. Once in Corpus Christi, Hubert McNally purchased and managed a Schlitz beer distributorship, and McNally attended W.B. Ray High School. Despite his distance from New York City, McNally's parents enjoyed Broadway musicals, and some of his first memories of the theater come from their occasional trips to New York. When McNally was eight years old, his parents took him to see Annie Get Your Gun, starring Ethel Merman, and on a subsequent outing, McNally saw Gertrude Lawrence in The King and I. Both productions had a lasting impression on the young McNally. It was in high school where McNally was first encouraged to write, having become a dedicated protege to a gifted English teacher named Maurine McElroy. He would subsequently dedicate several of his plays to her, and when she died in 2005, he supplied the inscription to her tombstone: "Not just an English teacher, but a life teacher." McElroy encouraged McNally to concentrate in schools outside Texas, which led him to matriculate at Columbia University as a journalism major.

He attended the prestigious university in its "golden age" of instruction, where his teachers included Meyer Schapiro for art history, Eric Bentley for drama, and Lionel Trilling for literature. Particularly influential was Andrew Chiappe, who instructed a popular two-semester course on Shakespeare in which students read every one of Shakespeare's plays in roughly the order of their composition. He joined the Boar's Head Society[17] and wrote Columbia's annual Varsity Show, which featured music by fellow student Edward L. Kleban and directed by Michael P. Kahn. He graduated in 1960 with a B. A. in English, the same year in which he gained membership into the Phi Beta Kappa Society.[11] In 1961, only one year out of Columbia University, McNally was hired by novelist John Steinbeck to accompany him and his family on a cruise around the world. McNally had been recommended by Molly Kazan, the Steinbecks' neighbor and McNally's mentor at the Playwrights Unit of the Actors Studio, as a tutor for his two teenage boys. The voyage would prove influential as McNally completed a draft of what would become the opening act of And Things That Go Bump in the Night. Steinbeck would go on to ask McNally to write the libretto for a musical version of the novel East of Eden.[18]

Career[edit]

Early career[edit]

After graduation, McNally moved to Mexico to focus on his writing, completing a one-act play which he submitted to the Actors Studio in New York for production. While the play was turned down by the acting school, the Studio was impressed with the script, and McNally was invited to serve as the Studio's stage manager so that he could gain practical knowledge of theater. In his early years in New York, McNally's interest in theatre brought him to a party where, departing, he shared a cab with Edward Albee, who had recently written The Zoo Story and The Sandbox, and was about to become the single most influential playwright in America. They would function as a couple for over four years during which Albee would write The American Dream and Who's Afraid of Virginia Woolf?. After McNally's relationship waned with Albee, he entered into a long-term relationship with the actor and director Robert Drivas.[11]

His earliest full-length play, This Side of the Door, deals with a sensitive boy's battle of wills with his overbearing father and was produced in an Actor's Studio Workshop in 1962, featuring a young Estelle Parsons.[11] In 1964, his first play And Things That Go Bump in the Night opened at the Royale Theatre on Broadway to generally negative reviews. The play explores the psycho-social dynamic of anxiety that leads one to preemptively and defensively accuse others of creating problems that in actuality result from one's own insecurity. McNally later said, "My first play, Things That Go Bump in the Night, was a big flop. I had to begin all over again."[9] Nevertheless, the producer, Theodore Mann dropped the price of tickets to $1.00 which allowed the production to run with sold-out houses for three weeks.[19]

Starting a career that would cover both off-Broadway and Broadway, his plays cried out against Vietnam, satirized stale family dynamics, mocked sexual mores and became a part of the social protest movement of the 1960s and early 1970s.[20] With his first Broadway play, And Things That Go Bump in the Night, he put homosexuality squarely on stage which brought him the ire of New York's conservative theatre critics.[21][11] Next (1968), which brought him his greatest early acclaim and was directed by Elaine May and starred James Coco, follows a married, middle-aged, businessman who has been mistakenly called for the draft and must contend with a career officer determined to sign him up. Botticelli (1968) centers on two American soldiers standing guard against the enemy in the jungle while making a game of the great names in Western Civilization. ¡Cuba Si! (1968) satirizes the disdain that contemporary America has for the idea of revolution even though America itself was a country born out of a revolution and starred the Academy Award-nominated actress Melina Mercouri. In Where Has Tommy Flowers Gone? (1971) he celebrates while mourning the ineffectiveness of the American youth movement's conviction to "blow this country up so we can start all over again." Sweet Eros (1968) is about a young man who professes his love to a naked woman he has gagged and bound to a chair. In Let It Bleed (1972) a young couple showers and becomes convinced an intruder is lurking on the other side of the shower curtain. Collectively, his early plays, which also include Tour (1967), Witness (1968), and Bringing It All Back Home (1970), and Whiskey (1973) form a dark satire on American moral complacency.[11]

McNally began to turn towards comedy and farce, which opened a new artistic avenue for the playwright. Beginning with Noon (1968), a sexual farce revolving around five strangers who are lured to an apartment in lower Manhattan by a personal advertisement, he would go on to write multiple plays that put his comedic talent on display. Bad Habits satirizes American reliance upon psychotherapy and first premiered at the John Drew Theatre in East Hampton, New York, in 1971 starring Linda Lavin. It would subsequently transfer to the Booth Theatre on Broadway in 1974 and garnered an Obie Award. The Ritz is a farce centering around a straight man who inadvertently takes refuge in a Mafia-owned gay bathhouse. It opened first at the National Theatre in Washington, D.C. before transferring to the Longacre Theatre on Broadway in 1975. Robert Drivas directed both productions and although Drivas and McNally broke up as a couple in 1976 they would remain close friends until Drivas died of AIDS-related complications ten years later.[22][11] McNally would go on to adapt The Ritz for the movie screen in 1976 which was directed by Richard Lester. In 1978, McNally wrote Broadway, Broadway, which failed in its Philadelphia try-out which starred Geraldine Page, but he would eventually re-write the play under the title It's Only a Play which premiered in 1985 off-Broadway at Manhattan Theatre Club directed by John Tillinger and starring Christine Baranski, Joanna Gleason, and James Coco.[11][22]

Mid career[edit]

After the failure of Broadway, Broadway, McNally moved to Hollywood to reinvent himself but soon found himself back in New York City where a new chapter of his career would begin. During this period he would form a deep artistic relationship with Manhattan Theatre Club and the rapid spread of AIDS would fundamentally change his theatre.[11] McNally only became truly successful with works such as the off-Broadway production of Frankie and Johnny in the Clair de Lune and its screen adaptation with stars Al Pacino and Michelle Pfeiffer. His first credited Broadway musical was The Rink in 1984, a project he entered after the score by composer John Kander and lyricist Fred Ebb had been written. In 1990, McNally won an Emmy Award for Best Writing in a Miniseries or Special for Andre's Mother, a drama about a woman trying to cope with her son's death from AIDS. A year later, he returned to the stage with another AIDS-related play, Lips Together, Teeth Apart. In the play, two married couples spend the Fourth of July weekend at a summer house on Fire Island. The house has been willed to Sally Truman by her brother who has just died of AIDS, and it soon becomes evident that both couples are afraid to get in the swimming pool once used by Sally's brother. It was written specifically for Christine Baranski, Anthony Heald, Swoosie Kurtz (taking the place of Kathy Bates), and frequent McNally collaborator, Nathan Lane, who had also starred in The Lisbon Traviata.[23][24]

With Kiss of the Spider Woman (based on the novel by Manuel Puig) in 1992, McNally returned to the musical stage, collaborating with Kander and Ebb on a script which explores the complex relationship between two men jailed together in a Latin American prison. For the book, McNally won the first of his four Tony Awards. Kiss of the Spider Woman won the 1993 Tony Award for Best Book of a Musical. He collaborated with Stephen Flaherty and Lynn Ahrens on Ragtime in 1997, a musical adaptation of the E. L. Doctorow novel, which tells the story of Coalhouse Walker Jr., a black musician who demands retribution when his Model T is destroyed by a mob of white troublemakers. The musical also features such historical figures as Harry Houdini, Booker T. Washington, J. P. Morgan, and Henry Ford. For his libretto, McNally won his third Tony Award. Ragtime finished its Broadway run on January 16, 2000. A revival in 2009 was short-lived, closing after only 2 months.[25]

McNally's other plays include 1994's Love! Valour! Compassion!, with Lane and John Glover, which examines the relationships of eight gay men; it won McNally his second Tony Award. Master Class (1995); a character study of legendary opera soprano Maria Callas, which starred Zoe Caldwell and won the Tony Award for Best Play, McNally's fourth; and the least-known of the group, Dedication or The Stuff of Dreams (2005) with Lane and Marian Seldes.[26]

In 1996, McNally was inducted into the American Theater Hall of Fame.[27]

1997 saw the world premiere of Corpus Christi, a modern-day retelling of the story of Jesus' birth, ministry, and death in which both he and his disciples are portrayed as homosexual. The play was initially canceled because of death threats against the board members of the Manhattan Theatre Club, which was to produce the play.[28] Banding together in defense of free creative expression, several other playwrights (including Athol Fugard) threatened to withdraw their plays if Corpus Christi was not produced; the board ultimately relented. When the play opened, the theatre was besieged by almost 2,000 protesters, furious at what they considered blasphemy. Subsequent to a 1999 opening of Corpus Christi in London, a group called the "Defenders of the Messenger Jesus" issued a fatwa sentencing McNally to death.[29] In 2008, the play was revived in New York City at Rattlestick Playwrights Theatre. Reviewing this production for The New York Times, Jason Zinoman wrote that "without the noise of controversy, the play can finally be heard. Staged with admirable delicacy... the work seems more personal than political, a coming-of-age story wrapped in religious sentiment."[30]

Late career[edit]

In 2000, McNally partnered with composer and lyricist, David Yazbek to write the musical, The Full Monty, which was directed by Jack O’Brien and choreographed by Jerry Mitchell.  It had an initial run at The Old Globe Theatre and then transferred to the Eugene O’Neill Theatre on Broadway.  The opening night cast included Patrick Wilson, Andre De Shields, Jason Danieley, Kathleen Freeman, Emily Skinner, and Annie Golden.[31] It was nominated for 12 Tony Awards including for McNally's book.[32] It later transferred to the Prince of Wales Theater in the West End.[33]

McNally's lifelong passion for classical music and opera is felt throughout many of his plays and musicals, and he's collaborated on several new American operas.[34]  His voice may be more familiar with opera fans than theater-goers, as for nearly 30 years (1979-2008) he was a member of the Texaco Opera Quiz panel that fielded questions during the weekly Live from the Met radio broadcasts.[11] He wrote the libretto for Dead Man Walking, his adaptation of Sister Helen Prejean's book, with a score by Jake Heggie.  The opera had its world premiere at San Francisco Opera in 2000 and subsequently received two commercial recordings and over 40 productions worldwide, making it “one of the most successful American operas in recent decades."[35] In 2007, Heggie composed a chamber opera, Three Decembers, based on original text by McNally titled Some Christmas Letters (and a Couple of Phone Calls, Too),[36] with libretto by Gene Scheer.[37] In October 2015, Dallas Opera presented Great Scott with an original libretto by McNally and a score by Heggie. The new opera starred Joyce DiDonato and Frederica von Stade and was directed by Jack O’Brien.[38]

The Kennedy Center presented three of McNally's plays that focus on opera, titled Nights at the Opera, in March 2010. The pieces included a new play, Golden Age; Master Class, starring Tyne Daly; and The Lisbon Traviata, starring John Glover and Malcolm Gets.[39][40][41] Golden Age subsequently ran Off-Broadway at the Manhattan Theatre Club New York City Center – Stage I from November 2012 to January 2013.[42]

In 2001, McNally started what would become a 15-year developmental process towards Broadway with the musical The Visit, for which he wrote the book.  The music is written by John Kander and the lyrics by Fred Ebb.   Adapted from Friedrich Dürrenmatt’s 1956 satire, The Visit is the story of a widow who has amassed enormous sums of wealth and returns to her hometown to seek revenge on the villagers who scorned her in her youth.  The project originally starred Angela Lansbury who departed the process to care for her ailing husband. Chita Rivera became the new star and The Visit had its first production at The Goodman Theater in Chicago in 2001.  The September 11 attacks occurred just 10 days before the first preview, and the producers weren’t able to get many investors or critics from New York to fly to Chicago.  In 2004, Fred Ebb, the lyricist, died. Its next regional production occurred in 2008 at The Signature Theatre outside of Washington D.C. In 2014, under the new direction of John Doyle and starring Chita Rivera and Roger Rees, The Visit had a new production at Williamstown Theatre and then eventually transferred to Broadway at The Lyceum Theatre in 2015.[43][44] The musical would go on to be nominated for 5 Tony nominations including for McNally's book.[45]

Continuing his work on musical librettos, McNally partnered with his collaborators on Ragtime, Stephen Flaherty and Lynn Ahrens to write the musical A Man of No Importance which premiered at Lincoln Center in 2002 and was directed by Joe Mantello.[46] He also wrote the libretto for Chita Rivera: The Dancer’s Life, in 2005, another collaboration with Stephen Flaherty and Lynn Ahrens, which began at The Old Globe and subsequently transferred to Broadway at the Gerald Schoenfeld Theatre.[47]

In 2004, Primary Stages presented McNally’s The Stendhal Syndrome, which according to McNally explores “how art can affect us emotionally, psychologically, and erotically.”  The play starred Isabella Rossellini and Richard Thomas and was directed by Leonard Foglia.[48] In 2007, Philadelphia Theatre Company presented Some Men, which explores the evolution of gay relationships and same-sex marriage.  It went on to Second Stage Theatre in New York and was directed by Trip Cullman.[49] That same year McNally's drama Deuce ran on Broadway at the Music Box Theater for a limited engagement in 2007 for 121 performances. Directed by Michael Blakemore, the play starred Angela Lansbury, in her return to Broadway after more than 20 years, and Marian Seldes.[50]

And Away We Go premiered Off-Broadway at the Pearl Theatre in November 2013, with direction by Jack Cummings III and featured Donna Lynne Champlin, Sean McNall and Dominic Cuskern.[51] The play takes place over several millennia covering the most pivotal moments in dramatic history entwined with a modern-day story of a struggling theatre company.[52] McNally has said “It's very much written for the Pearl, the company that has kept the faith for the great classic plays.  There are whole seasons in New York when I don't think a single classic play would have been performed if it hadn't been for the Pearl... I think it's really important. I write new plays for a living; I certainly don't think theatre should be just revivals, but there has always got to be a place for Chekhov, Ibsen, Shakespeare, Moliere and Aeschylus.”[53]

Mothers and Sons starring Tyne Daly and Frederick Weller opened on Broadway at the John Golden Theatre, where Master Class had its premiere, on March 24, 2014 (February 23, 2014 in previews).[54] Mothers and Sons premiered at the Bucks County Playhouse (Pennsylvania) in June 2013.[55] Vermont Stage opened its production January 27, 2016[56] at FlynnSpace in Burlington, Vermont. The play is an expansion on his 1988 drama Andre’s Mother, which was set at a memorial service for a victim of the AIDS crisis.  Mothers and Sons also marked the first time a legally wed gay couple was portrayed on Broadway.[57] It was nominated for two Tony Awards including for Best Play.[58]

McNally's newest play, Fire and Air, premiered Off-Broadway at Classic Stage Company on February 1, 2018.[59] The play explores the history of the Ballets Russes, the Russian ballet company, with a particular focus on Sergei Diaghilev, the ballet impresario, and Vaslav Nijinsky, the dancer and choreographer.  It featured the actors Douglas Hodge, Marsha Mason, Marin Mazzie, John Glover, and Jay Johnson Armstrong and was directed by Tony Award-winner John Doyle.[60]

Personal life[edit]

McNally was partnered to Tom Kirdahy, a Broadway producer and a former civil rights attorney for not-for-profit AIDS organizations, following a civil union ceremony in Vermont on December 20, 2003.[61][62] They subsequently married in Washington, D.C. on April 6, 2010. In celebration of the Supreme Court's decision to legalize same-sex marriage in all 50 states, they renewed their vows at New York City Hall with Mayor Bill de Blasio officiating on June 26, 2015.[63][64]

Archive[edit]

The papers of Terrence McNally are held by the Harry Ransom Center at the University of Texas at Austin. The archive includes all of his major works for stage, screen, and television, as well as correspondence, posters, production photographs, programs, reviews, awards, speeches, and recordings. It is an open archive and continues to receive the latest material from McNally.[65]

Writing credits[edit]

Awards and nominations[edit]

  • 1975 Drama Desk Award Nomination, Outstanding New American Play (The Ritz)
  • 1992 Drama Desk Award Nomination, Outstanding New Play (The Lisbon Traviata)
  • 1992 Drama Desk Award Winner, Outstanding New Play (Lips Together, Teeth Apart)
  • 1995 Drama Desk Award Winner, Outstanding Play (Love! Valour! Compassion!)
  • 1996 Drama Desk Award Winner, Outstanding Play (Master Class)
  • 1998 Drama Desk Award Winner, Outstanding Book of a Musical (Ragtime)
  • 2001 Drama Desk Award Nomination, Outstanding Book of a Musical (The Full Monty)
  • 2003 Drama Desk Award Nomination, Outstanding Book of a Musical (A Man of No Importance)
  • 2006 Drama Desk Award Nomination, Outstanding Play (Dedication or The Stuff of Dreams)
  • 2007 Drama Desk Award Nomination, Outstanding Play (Some Men)
  • 1990 Emmy Award Winner, Outstanding Writing in a Miniseries or a Special (Andre's Mother)
  • 1992 Lucille Lortel Award Winner, Outstanding Body of Work (Terrence McNally)
  • 1992 Lucille Lortel Award Winner, Outstanding Play (Lips Together, Teeth Apart)
  • 1974 Obie Award Winner, Distinguished Play (Bad Habits)
  • 1995 Obie Award Winner for Playwriting (Love! Valour! Compassion!)
  • 1994 Pulitzer Prize for Drama Nomination (A Perfect Ganesh)
  • 1993 Tony Award Winner, Best Book of a Musical (Kiss of the Spider Woman)
  • 1995 Tony Award Winner, Best Play (Love! Valour! Compassion!)
  • 1996 Tony Award Winner, Best Play (Master Class)
  • 1998 Tony Award Winner, Best Book of a Musical (Ragtime)
  • 2001 Tony Award Nomination, Best Book of a Musical (The Full Monty)
  • 2014 Tony Award Nomination, Best Play (Mothers and Sons)
  • 2015 Tony Award Nomination, Best Book of a Musical (The Visit)

References[edit]

Footnotes

  1. ^ Brantley, Ben (2014-03-24). "Mothers and Sons, an AIDS Tale Starring Tyne Daly". The New York Times. ISSN 0362-4331. Archived from the original on 2016-05-24. Retrieved 2016-10-14.
  2. ^ Reed, Rex (2014-03-26). "A Provincial Lady: Tyne Daly Shines in Mothers and Sons". The New York Observer. Archived from the original on 2016-10-18. Retrieved 2016-10-14.
  3. ^ "Terrence McNally". Playbill Vault. Archived from the original on 6 October 2014. Retrieved 5 October 2014.
  4. ^ "American Stage Presents Frankie and Johnny in the Claire De Lune". Broadway World.com. Archived from the original on 2 April 2015. Retrieved 26 March 2015.
  5. ^ Purcell, Carey (September 11, 2013). "Jason Alexander, Tyne Daly, Cheyenne Jackson and More Will Honor Terrence McNally at Skylight Theatre Company". Playbill. Archived from the original on 6 October 2014. Retrieved 5 October 2014.
  6. ^ Cox, Gordon (2015-05-11). "Hamilton Dominates the 2015 Lucille Lortel Awards (Full List)". Variety. Archived from the original on 2016-06-07. Retrieved 2016-06-02.
  7. ^ "Club History – The Lotos Club". www.lotosclub.org. Archived from the original on 2016-08-09. Retrieved 2016-10-14.
  8. ^ "Terrence McNally | Samuel French". www.samuelfrench.com. Archived from the original on 2016-05-07. Retrieved 2016-06-02.
  9. ^ a b Playwright Terrence McNally: 'The Most Significant Thing a Writer Can Do Is Reach Someone Emotionally', Parade Magazine, March 24, 2014 Archived April 14, 2014, at the Wayback Machine.
  10. ^ Viagas, Robert. "Theatre Hall of Fame 1996". Playbill. Archived from the original on 6 October 2014. Retrieved 5 October 2014.
  11. ^ a b c d e f g h i j k Frontain, Raymond (April 1, 2013). "Terrence McNally: Theater as Connection" (PDF). GLBTQ Archives. Archived (PDF) from the original on December 15, 2016. Retrieved October 14, 2016.
  12. ^ "Class Day and Commencement 2013 | Columbia College Today". www.college.columbia.edu. Archived from the original on 2016-10-18. Retrieved 2016-10-14.
  13. ^ "2018 Newly Elected Members – American Academy of Arts and Letters". artsandletters.org. Archived from the original on 2018-03-17. Retrieved 2018-03-16.
  14. ^ "Playwright Terrence McNally Coming to City This Month". Cumberland Times-News. October 1, 2010. Retrieved 5 October 2014.
  15. ^ Frontain, Raymond-Jean. "McNally After the 'Gay Jesus' Play". The Gay and Lesbian Review. Archived from the original on 6 October 2014. Retrieved 5 October 2014.
  16. ^ Frontain, Raymond-Jean (November 2013). ""Theatre Matters": Discovering the True Self in Terrence McNally's Dedication". Journal of Contemporary Drama in English. 1 (2): 261–78. doi:10.1515/jcde-2013-0021.
  17. ^ "History". Columbia Review. Archived from the original on 14 March 2016. Retrieved 5 March 2016.
  18. ^ Frontain, Raymond-Jean (August 7, 2010). "McNally and Steinbeck". ANQ: A Quarterly Journal of Short Articles, Notes and Reviews. 21 (4): 43–51. doi:10.3200/ANQQ.21.4.43-51. Retrieved 16 April 2015.
  19. ^ Marks, Peter (March 14, 2010). "Playwright Terrence McNally's Love of Opera Takes Center Stage at Kennedy Center". Washington Post. Washington Post. Archived from the original on March 5, 2018.
  20. ^ "About – Terrence McNally". www.terrencemcnally.com. Archived from the original on 2016-11-23. Retrieved 2016-11-22.
  21. ^ Hadleigh, Boze (2013-02-20). Broadway Babylon: Glamour, Glitz, and Gossip on the Great White Way. Potter/TenSpeed/Harmony. ISBN 9780307830135.
  22. ^ a b Frontain, Raymond-Jean (2010-04-30). "A Preliminary Calendar of the Works of Terrence McNally". ANQ: A Quarterly Journal of Short Articles, Notes and Reviews. 23 (2): 105–123. doi:10.1080/08957691003712272. ISSN 0895-769X.
  23. ^ Rothstein, Mervyn. "Terrence McNally's Four Stars Talk Happily of His 'Lips Together'" Archived 2017-01-06 at the Wayback Machine. The New York Times, July 3, 1991
  24. ^ "The Story" Archived 2004-06-24 at the Wayback Machine. dramatists.com, accessed March 26, 2014
  25. ^ "The Sondheim Review: Mutual admiration, Sondheim and playwright Terrence McNally began a collaboration in 1991, by Raymond-Jean Frontain Archived 2014-01-16 at the Wayback Machine. readperiodicals.com, April 1, 2011
  26. ^ "Dedication or The Stuff of Dreams Listing" Archived 2016-03-08 at the Wayback Machine. lortel.org, accessed February 29, 2016
  27. ^ "Theatre Hall of Fame 1996". www.playbill.com. Archived from the original on 2014-03-14.
  28. ^ "Censoring Terrence McNally". The New York Times. 1998-05-28. ISSN 0362-4331. Retrieved 2018-06-08.
  29. ^ "Fatwa for 'gay Jesus' writer". BBC News. 1999-10-29. Archived from the original on 2006-11-12. Retrieved 2007-04-19.
  30. ^ Zinoman, Jason (2008-10-21). "At Rattlestick Playwrights Theater, a Modern, Gay You-Know-Who Superstar". The New York Times. ISSN 0362-4331. Retrieved 2018-06-08.
  31. ^ "The Full Monty". Internet Broadway Database. Retrieved August 13, 2018.
  32. ^ "The Full Monty Awards". Internet Broadway Database. Retrieved August 13, 2018.
  33. ^ Wolf, Matt (March 22, 2002). "The Full Monty". Variety. Retrieved August 13, 2018.
  34. ^ Marks, Peter (March 14, 2010). "Terrence McNally's love of opera takes center stage at Kennedy Center". Washington Post. Retrieved August 13, 2018.
  35. ^ von Rhein, John (February 24, 2015). "'Dead Man' is wrenching music drama in first full area staging". Chicago Tribune. Retrieved August 13, 2018.
  36. ^ "Terrence McNally Pens NYC Holiday 'Letters' for Dec. 13–14 Benefit Concert" Archived 2012-10-18 at the Wayback Machine. playbill.com
  37. ^ Zinko, Carolyne (December 7, 2008). "S.F. Opera To Adapt 'Dead Man'/Heggie-McNally work commissioned for 2000-01". The San Francisco Chronicle. Archived from the original on July 10, 2012.
  38. ^ "Great Scott". Opera News. October 30, 2015. Retrieved August 13, 2018.
  39. ^ Hetrick, Adam. "Casting Complete for Master Class, with Daly, at the Kennedy Center" Archived 2011-06-04 at the Wayback Machine. playbill.com, February 2, 2010
  40. ^ Hetrick, Adam. "Glover and Gets Open McNally's Lisbon Traviata in Washington, D.C. March 25" Archived 2011-06-05 at the Wayback Machine. playbill.com, March 25, 2010
  41. ^ Hetrick, Adam."All That Glitters: Bobbie Talks About McNally's Golden Age at the Kennedy Center" Archived 2010-03-31 at the Wayback Machine. playbill.com, March 29, 2010
  42. ^ Hetrick, Adam and Jones, Kenneth. "Manhattan Theatre Club announced that Terrence McNally's backstage-set operatic play Golden Age, starring Emmy Award nominee Lee Pace as a late-in-life composer Vincenzo Bellini, has extended its run through Jan. 13, 2013" Archived 2016-03-06 at the Wayback Machine. Playbill, December 14, 2012
  43. ^ Wallenberg, Christopher (July 17, 2014). "A Tenacious Show Finds a New Stage". New York Times. Retrieved August 13, 2018.
  44. ^ Gerard, Jeremy (January 8, 2015). "Chita River's Destination: Broadway's Lyceum For 'The Visit'". Deadline. Retrieved August 13, 2018.
  45. ^ Perkins, Meghan (May 15, 2015). "The Visit Garners Five Tony Nominations". Live Design. Retrieved August 13, 2018.
  46. ^ "A Man of No Importance Who's Who". Lincoln Center Theatre. Retrieved August 13, 2018.
  47. ^ Oxman, Steven (October 5, 2005). "Chita Rivera: The Dancer's Life". Variety. Retrieved August 13, 2018.
  48. ^ Hernandez, Ernio (February 16, 2004). "Rossellini and Thomas Fall Under McNally's Stendhal Syndrome, Opens Feb. 16". Playbill. Retrieved August 13, 2018.
  49. ^ Brantley, Ben (March 27, 2007). "8 Decades of Gay Men, at the Altar with History". New York Times. Retrieved August 13, 2018.
  50. ^ Hernandez, Ernio (May 6, 2007). "Angela Lansbury and Marian Seldes Open in McNally's Deuce May 6". Playbill. Retrieved August 13, 2018.
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General citations

External links[edit]