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:
“She does not realize that the only difference between us is that she is on one stage and I on another. I feel that I am acting just as much as she is.”
—William Howard Taft (1857–1930)
“If in many of my productions terror has been the thesis, I maintain that terror is not of Germany, but of the soul.”
—Edgar Allan Poe (1809–1849)