Theater
Foote's plays were produced on Broadway, Off-Broadway, Off-Off-Broadway and at many regional theatres. He wrote the English adaptation of the original Japanese book for the 1970 musical Scarlett, a musical adaptation of "Gone with the Wind". He won the 1995 Pulitzer Prize for Drama for The Young Man From Atlanta. The Goodman Theatre production that was presented on Broadway in New York City in 1997 was nominated for Best Play, but did not win. The production starred Rip Torn, Shirley Knight and Biff McGuire. Knight and McGuire were also nominated for Tony Awards.
In 2000, Foote was honored with the PEN/Laura Pels International Foundation for Theater Award as a Master American Dramatist.
His nine-play biographical series, mainly about his father, The Orphans' Home Cycle (Roots in a Parched Ground, Convicts, Lily Dale, The Widow Claire, Courtship, Valentine's Day, 1918, Cousins, and The Death of Papa) ran in repertory off-Broadway in 2009-2010. The combined productions received a Special Drama Desk Award "To the cast, creative team and producers of Horton Foote’s epic The Orphans' Home Cycle". Parts of the series had been produced as separate plays previously; Convicts, Lily Dale, Courtship, Valentine's Day and 1918 were filmed, the latter three being shown on PBS as a mini-series titled The Story of A Marriage.
Read more about this topic: Horton Foote
Famous quotes containing the word theater:
“The Miss America contest is ... the most perfectly rendered theater in our culture, for it so perfectly captures what we yearn for: a low-class ritual, a polished restatement of vulgarity, that wants to open the door to high-class respectability by way of plain middle-class anxiety and ambition.”
—Gerald Early (b. 1952)
“The theater needs continual reminders that there is nothing more debasing than the work of those who do well what is not worth doing at all.”
—Gore Vidal (b. 1925)
“It is not enough to demand insight and informative images of reality from the theater. Our theater must stimulate a desire for understanding, a delight in changing reality. Our audience must experience not only the ways to free Prometheus, but be schooled in the very desire to free him. Theater must teach all the pleasures and joys of discovery, all the feelings of triumph associated with liberation.”
—Bertolt Brecht (1898–1956)