Stage Productions
| Date | Production | Author | Location |
|---|---|---|---|
| 1942 | The Eve of St. Mark | Maxwell Anderson | University of Texas, Austin |
| 1943 | Sporting Pink | Theodore Apstein | University of Texas, Austin |
| A Choice of Weapons | Theodore Apstein | ||
| You Touched Me | Tennessee Williams | Pasadena Playhouse, California | |
| 1945 | The Glass Menagerie | Tennessee Williams | Playhouse, New York |
| 1946 | On Whitman Avenue | Maxine Wood | Broadway, New York |
| Joan of Lorraine | Maxwell Anderson | Alvin Theatre, New York | |
| 1947 | Farther Off From Heaven/The Dark at the Top of the Stairs | William Inge | Theatre '47, Dallas, Texas |
| Hedda Gabler | Henrik Ibsen | ||
| How Now Hecate | Martyn Coleman | ||
| Summer and Smoke | Tennessee Williams | Theatre '47, Dallas, Texas Music Box Theatre, New York |
|
| Third Cousin | Vera Mathews | Theatre '47, Dallas, Texas | |
| 1948 | The Master Builder | Henrik Ibsen | Theatre '48, Dallas, Texas |
| The Taming of the Shrew | William Shakespeare | ||
| The Importance of Being Earnest | Oscar Wilde | ||
| Summer and Smoke | Tennessee Williams | Broadway, New York | |
| Last of My Solid Gold Watches This Property Is Condemned Portrait of a Madonna |
Tennessee Williams | Theatre '48, Dallas, Texas | |
| Throng o' Scarlet | Vivian Connell | ||
| Lemple's Old Man | Manning Gurain | ||
| Leaf and Bough | Joseph Hayes | ||
| Black John | Barton MacLane | ||
| 1949 | The Learned Ladies | Molière | Theatre '49, Dallas, Texas |
| Twelfth Night | William Shakespeare | ||
| The Sea Gull | Anton Chekhov | ||
| She Stoops to Conquer | Oliver Goldsmith | ||
| Here's to Us | Shirland Quin | ||
| Sting in the Tail | Tom Purefoy | ||
| The Coast of Illyria | Dorothy Parker and Ross Evans | ||
| 1950 | Heartbreak House | George Bernard Shaw | Theatre '50, Dallas, Texas |
| Ghosts | Henrik Ibsen | ||
| An Old Beat-Up Woman | Sari Scott | ||
| My Granny Van | Loren Disney and George Sessions Perry | ||
| Cock-a-Doodle Dandy | Seán O'Casey | ||
| The Golden Porcupine | Muriel Roy Bolton | ||
| Southern Exposure | Owen Crump | ||
| A Play for Mary | William McCleery | ||
| An Innocent Time | Edward Caufield | ||
| 1951 | Lady Windermere's Fan | Oscar Wilde | Theatre '51, Dallas, Texas |
| The Merchant of Venice | William Shakespeare | ||
| Candida | George Bernard Shaw | ||
| A Willow Tree | A. B. Shiffrin | ||
| One Bright Day | Siomund Miller | ||
| Walls Rise Up | Duane, Frank and Richard Shannon | ||
| A Gift for Cathy | Ronald Alexander | ||
| 1952 | A Midsummer Night's Dream | William Shakespeare | Theatre '52, Dallas, Texas |
| Sainted Sisters | Alden Nash | ||
| The Blind Spot | Edward Caulfield | ||
| So in Love | Vern Matthews | ||
| I Am Laughing | Edwin Justus Mayer | ||
| 1953 | Hamlet | William Shakespeare | Theatre '53, Dallas, Texas |
| The Rivals | Richard Brinsley Sheridan | ||
| Goodbye, Your Majesty | Vivian Connell | ||
| The Rising Heifer | Robin Maugham | ||
| The Last Island | Eugene Raskin | ||
| Late Love | Casey | ||
| Uncle Marston | John Briard Harding | ||
| The Day's Mischief | Lesley Storm | ||
| 1954 | Volpone | Ben Jonson | Theatre '54, Dallas, Texas |
| The Footpath Way | Burgess Drake | ||
| The Guilty | Harry Granick | ||
| Happy We'll Be | Samson Raphaelson | ||
| Oracle Junction | Samson Raphaelson | ||
| The Heel | Samson Raphaelson | ||
| A Rainbow at Home | Milton Robertson | ||
| Horatio | Wallach, David Baker, and Harnick | ||
| The Purification | Tennessee Williams | ||
| Apollo of Bellac | Jean Giraudoux | ||
| The Brothers | John S. Rodell | ||
| A Dash of Bitters | Reginald Denham and Conrad Sutton-Smith | ||
| Sea-Change | William Case | ||
| The Hemlock Cup | Edward Hunt | ||
| 1955 | As You Like It | William Shakespeare | Theatre '55, Dallas, Texas |
| Inherit the Wind | Jerome Lawrence and Robert Edwin Lee | ||
| Whisper to Me | William Goyen and Greer Johnson | ||
| La Belle Lulu | Jacques Offenbach and Charles Previn | ||
| The Girl from Boston | Joseph Hayes |
Read more about this topic: Margo Jones
Famous quotes containing the words stage and/or productions:
“The Indians feel that each stage is crucial and that the child should be allowed to dwell in each for the appropriate period of time so that every aspect of his being can evolve, just as a plant evolves in the proper time and sequence of the seasons. Otherwise, the child never has a chance to master himself in any one phase of his life.”
—Alan Quetone (20th century)
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