Booth Theatre
{{Short description|Broadway theater in Manhattan, New York}}
{{redirect|Booth Theater|the theater in Kansas|Booth Theater (Independence, Kansas)|the former New York City theater that opened in 1869|Booth's Theatre}}
{{good article}}
{{Use American English|date=June 2023}}
{{Use mdy dates|date=December 2022}}
{{Infobox venue
|name = Booth Theatre
|image = Booth_Theatre_(48295953591).jpg
|image_size = 250px
|caption =
| address = 222 West 45th Street
| city = Manhattan, New York
| country = United States
| designation =
| coordinates = {{coord|40.7584|-73.9870|type:landmark|format=dms|display=inline,title}}
| architect = Henry Beaumont Herts
| owner = Shubert and Booth Theatre, LLC
| operator = The Shubert Organization
| type = Broadway
| opened = {{Start date and age|1913|10|16|p=yes}}
| yearsactive = 1913–present
| rebuilt =
| closed =
| demolished =
| othernames =
| production = John Proctor is the Villain
| currentuse =
| website = {{URL|https://shubert.nyc/theatres/booth/}}
| publictransit = Subway: {{stn|Times Square–42nd Street/Port Authority Bus Terminal}}
| embedded = {{Infobox historic site
| embed = yes
| designation1 = NYCL
| designation1_date = November 4, 1987{{harvnb|Landmarks Preservation Commission|1987|ps=.|p=1}}
| designation1_free1name = Designated entity
| designation1_free1value = Facade
| designation2 = NYCL
| designation2_date = November 4, 1987{{harvnb|Landmarks Preservation Commission Interior|1987|ps=.|p=1}}
| designation2_free1name = Designated entity
| designation2_free1value = Lobby and auditorium interior
}}
}}
The Booth Theatre is a Broadway theater at 222 West 45th Street (George Abbott Way) in the Theater District of Midtown Manhattan in New York City, New York, U.S. Opened in 1913, the theater was designed by Henry Beaumont Herts in the Italian Renaissance style and was built for the Shubert brothers. The venue was originally operated by Winthrop Ames, who named it for 19th-century American actor Edwin Booth. It has 800 seats across two levels and is operated by The Shubert Organization. The facade and parts of the interior are New York City landmarks.
The Booth's facade is made of brick and terracotta, with sgraffito decorations designed in stucco. Three arches face north onto 45th Street, and a curved corner faces east toward Broadway. To the east, the Shubert Alley facade includes doors to the lobby and the stage house. The auditorium contains an orchestra level, one balcony, box seats, and a coved ceiling. The walls are decorated with wooden paneling with windows above, an unusual design for Broadway theaters, and there is an elliptical proscenium arch at the front of the auditorium. The stage house to the south is shared with the Shubert Theatre, and a gift shop occupies some of the former dressing rooms.
The Shubert brothers developed the Booth and Shubert theaters as their first venues on the block. It opened on October 16, 1913, with Arnold Bennett's play The Great Adventure. Ames leased the theater and showed many of his own productions until 1932, when the Shuberts took over. Many of the Booth's initial productions had short runs, particularly in the 1930s, but longer runs began to predominate by the 1940s. Long-running productions have included Luv, Butterflies Are Free, That Championship Season, For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf, and The Elephant Man.
Site
The Booth Theatre is on 224 West 45th Street, on the north sidewalk between Eighth Avenue and Seventh Avenue, near Times Square in the Theater District of Midtown Manhattan in New York City, New York, U.S.{{cite aia5|pages=298}} It shares a land lot with the Shubert Theatre directly to the south, though the theaters are separate buildings.{{harvnb|Landmarks Preservation Commission|1987|ps=.|p=15}} The lot covers {{Convert|25,305|ft2|m2}}, with a frontage of {{Convert|126|ft}} on 44th and 45th Streets and {{Convert|200.83|ft|0}} on Shubert Alley to the east.{{Cite web|title=222 West 45 Street, 10036|url=https://zola.planning.nyc.gov/l/lot/1/1016/15|url-status=live|access-date=November 17, 2021|publisher=New York City Department of City Planning|archive-url=https://web.archive.org/web/20220126191009/https://zola.planning.nyc.gov/l/lot/1/1016/15 |archive-date=January 26, 2022 }} The Booth Theatre building takes up {{Convert|90|ft}} of the Shubert Alley frontage.{{Cite news|date=September 29, 1913|title=Forbes-Robertson Reception To-day; Famous English Actor and Wife to be Honored at New Shubert Theatre.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1913/09/29/archives/forbesrobertson-reception-today-famous-english-actor-and-wife-to-be.html|access-date=January 27, 2022|issn=0362-4331}}{{cite magazine|date=November 1913|title=The Shubert Theater on 44th Street and the Booth Theater on 45th Street, New York|magazine=Architecture and Building|url=https://books.google.com/books?id=FRciAQAAMAAJ|publisher=W.T. Comstock Company|volume=45|page=467}}
The Booth is part of the largest concentration of Broadway theaters on a single block.{{harvnb|Landmarks Preservation Commission|1987|ps=.|p=14}} The adjoining block of 45th Street is also known as George Abbott Way,{{cite book|last=Feirstein|first=Sanna|url=https://books.google.com/books?id=1jITCgAAQBAJ&pg=PA200 |title=Naming New York: Manhattan Places and How They Got Their Names|publisher=NYU Press|year=2001|isbn=978-0-8147-2711-9|page=119}} and foot traffic on the street increases box-office totals for the theaters there.{{harvnb|Bloom|2007|ps=.|p=30}} The Booth adjoins six other theaters: the Majestic and Broadhurst to the southwest; the John Golden, Bernard B. Jacobs, and Gerald Schoenfeld to the west; and the Shubert to the south. Other nearby structures include the Row NYC Hotel to the west; the Music Box Theatre, Imperial Theatre, and Richard Rodgers Theatre to the north; One Astor Plaza to the east; 1501 Broadway to the southeast; and the Hayes Theater and St. James Theatre one block south. The Broadhurst, Schoenfeld (originally Plymouth), Booth, and Shubert theaters were all developed by the Shubert brothers between 44th and 45th Streets, occupying land previously owned by the Astor family.{{harvnb|Bloom|2007|ps=.|p=37}}{{cite news|date=November 10, 1948|title=Shuberts Buy Sites of Four of Their Theaters: Get Broadhurst, Plymouth, Shubert and Booth Land From W. W. Astor Estate|page=14|work=New York Herald Tribune|id={{ProQuest|1335171969}}}} The Shuberts bought the land under all four theaters from the Astors in 1948.{{Cite news|last=Zolotow|first=Sam|date=November 10, 1948|title=Shuberts Acquire 4 Broadway Sites; Purchase Choice Theatre Plots From William Astor Estate for Reported $3,500,000|language=en-US|work=The New York Times|url=https://www.nytimes.com/1948/11/10/archives/shuberts-acquire-4-broadway-sites-purchase-choice-theatre-plots.html|access-date=January 20, 2022|issn=0362-4331}}
The Shubert and Booth theaters were developed as a pair and are the oldest theaters on the block.{{harvnb|Bloom|2007|ps=|p=37}}; {{harvnb|Landmarks Preservation Commission|1987|p=13|ps=.}}{{harvnb|Morrison|1999|ps=.|p=103}} The site was previously occupied by several houses on 44th and 45th Street.{{Cite news|date=March 18, 1911|title=New Theatre Moves to Times Square; Site Adjoining the Hotel Astor Chosen for the New Building -- To be Ready in 1912.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1911/03/18/archives/new-theatre-moves-to-times-square-site-adjoining-the-hotel-astor.html|access-date=January 27, 2022|issn=0362-4331}} The adjacent Shubert Alley, built along with the Shubert and Booth theaters,{{Cite news|first=Louis|last=Calta|date=October 3, 1963|title=50 Years Marked in Shubert Alley; The Shuberts' Celebrated Alley Observes a Birthday|language=en-US|work=The New York Times|url=https://www.nytimes.com/1963/10/03/archives/50-years-marked-in-shubert-alley-the-shuberts-celebrated-alley.html|access-date=January 27, 2022|issn=0362-4331}}{{Cite news|date=October 2, 1963|title=Shubert Alley Celebrates 50th|pages=35|work=The Journal News|url=https://www.newspapers.com/clip/93774800/shubert-alley-celebrates-50th/|access-date=January 30, 2022}} was originally a {{Convert|15|ft|4=-wide|adj=mid}} fire escape passage.{{harvnb|Chach|2014|p=46|ps=.}} Shubert Alley's presence not only allowed the theaters to meet fire regulations{{cite magazine|date=1913|title=The Booth and the Shubert Theatres|url=https://babel.hathitrust.org/cgi/pt?id=coo.319240151377677|magazine=Architecture|volume=28|page=111}}{{cite news|date=May 27, 1912|title=Two More Playhouses: Work Begun on New Theatres in West 44th and 45th Streets|page=3|work=New-York Tribune|id={{ProQuest|574907446}}}} but also enabled the structures to be designed as corner lots. Originally, the theaters faced the Hotel Astor, now the location of One Astor Plaza, across the alley.{{harvnb|Morrison|1999|ps=.|p=105}} Another private alley runs to the west, between the Booth/Shubert and Broadhurst/Schoenfeld theaters.{{harvnb|Bloom|2007|ps=.|p=86}} The Broadhurst and Schoenfeld were also built as a pair, occupying land left over from the development of the Shubert and Booth; these too are designed with curved corners facing Broadway.{{harvnb|Bloom|2007|ps=|p=37}}; {{harvnb|Morrison|1999|ps=.|p=103}}
Design
The Booth Theatre was designed by Henry Beaumont Herts and constructed in 1913 for the Shubert brothers.{{harvnb|Landmarks Preservation Commission|1987|ps=.|pp=15–16}} Herts was an experienced theatrical architect and had previously led the firm of Herts & Tallant, which designed such theaters as the Lyceum, the New Amsterdam, and the Liberty.{{harvnb|Landmarks Preservation Commission|1987|ps=.|p=13}}{{Cite news|date=March 28, 1933|title=H. B. Herts Dead; Noted Architect; His Invention of Arch Design for Theatres Eliminated Balcony Pillars|language=en-US|work=The New York Times|url=https://www.nytimes.com/1933/03/28/archives/h-b-herts-dead-noted-architect-his-invention-of-arch-design-for.html|access-date=January 26, 2022|issn=0362-4331}} The Shubert and Booth theaters are within separate buildings and differ in their interior designs and functions,{{cite news|id={{ProQuest|575134472}} |title=New Booth Theatre: Winthrop Ames's New Playhouse Opens Next Week |date=October 5, 1913 |page=B6 |work=New-York Tribune}} although they have adjacent stage areas near the center of the block. The Shubert was the larger house, intended to be suitable for musicals, and the Shubert family's offices were placed above the auditorium there.{{harvnb|Botto|Mitchell|2002|ps=|p=79}}; {{harvnb|Landmarks Preservation Commission|1987|p=15|ps=.}} By contrast, the Booth was intended to be smaller and more intimate.{{harvnb|Botto|Mitchell|2002|ps=|p=89}}; {{harvnb|Landmarks Preservation Commission|1987|p=15|ps=.}} The Booth Theatre is operated by The Shubert Organization.{{cite web|author=The Broadway League|date=October 2, 1913|title=Booth Theatre – New York, NY|url=https://www.ibdb.com/theatre/booth-theatre-1071|access-date=January 26, 2022|website=IBDB}}{{Cite web|title=Booth Theatre (1913) New York, NY|url=https://www.playbill.com/venue/booth-theatre-vault-0000000054|access-date=January 26, 2022|website=Playbill|language=en}}
=Facade=
The facades of the two theaters are similar in arrangement, being designed in an Italian Renaissance style.{{harvnb|Morrison|1999|ps=.|p=87}} The structures both have curved corners facing Broadway, since most audience members reached the theaters from that direction.{{harvnb|Botto|Mitchell|2002|ps=.|p=89}} The Booth's facade is made of white brick, laid in English-cross bondwork, as well as terracotta.{{harvnb|Landmarks Preservation Commission|1987|ps=.|p=21}} An early source described the theaters' facades as being made of white marble, with stucco and faience panels. The main section of the theater is topped by a cornice with sheet-metal brackets designed to resemble theatrical masks. A balustrade used to run above the cornice. The western wall is plain and has a fire escape. A critic for Architecture magazine wrote that Herts had "discovered an excellent motive for a single facade", although it "would perhaps have been more amusing" if the two theaters had contained different facades.
According to the New-York Tribune, the theaters' use of hand-carved sgraffito for decoration made Herts "the first man to have used sgraffito for this purpose".{{cite news|date=September 28, 1913|title=New Shubert Theatre: Description of Playhouse to Open With Forbes-Robertson|page=B6|work=New-York Tribune|id={{ProQuest|575116917}}}} The sgraffito was used because of New York City building codes that prevented decorations from projecting beyond their lot lines.{{harvnb|American Architect and Architecture|1913|ps=.|loc=plate (document page 961)}}{{harvnb|Landmarks Preservation Commission|1987|ps=.|p=18}}{{harvnb|Bloom|2007|ps=.|p=35}} These decorations were colored light-gray, placed on a purple-gray background.{{harvnb|Chach|2014|p=48|ps=.}}{{harvnb|American Architect and Architecture|1913|ps=.|loc=plate (document page 965)}} The sgraffito on the two theaters is one of the few such examples that remain in New York City. A contemporary source said the theaters' facades were "free from much of the gaudy trappings that has made some of the recent playhouses commonplace in appearance".
== 45th Street ==
File:Booth Theatre on Broadway (7645533870).jpg
At ground level, the 45th Street elevation contains a tall water table of painted stone, above which is a band with rusticated blocks of terracotta. There are three arches at the center of the facade, which provide an emergency exit from the lobby. Each archway originally contained a pair of paneled wooden triple doors, but these have since been covered with posters. On either side of the arches are rectangular sign boards topped by broken segmental-arched pediments.{{harvnb|Landmarks Preservation Commission|1987|ps=.|p=20}} Within the archways above the doors are sgraffito paintings, which depict figures. These paintings are partially obscured by a modern marquee that is cantilevered from the wall above. The archways are surrounded by rusticated voissoirs.{{harvnb|Landmarks Preservation Commission|1987|ps=.|pp=20–21}}
Above the archways, the theater's facade is made of brick. The words "The Booth Theatre" are placed above the arches in metal letters. The brick section of the facade is surrounded by a stucco band of sgraffito decorations, which is painted beige and contains bas reliefs of classical-style foliate ornamentation. The extreme left (east) and right (west) ends of the facade contain vertical sequences of terracotta quoins; they have Corinthian-style capitals that are decorated with motifs of griffins and shields. The sgraffito band wraps along the top of the brick wall. Above that is a stucco wall section with sgraffito decorations, which depict grotesques holding swags and human figures holding urns and staffs. These sgraffito decorations alternate with octagonal terracotta panels. At the center of the stucco wall section is a terracotta aedicule with a heraldic cartouche, above which is a broken pediment.
== Northeast corner ==
Due to the theater's location at the corner of 45th Street and Shubert Alley, the northeast corner of the facade is curved. This corner section has a doorway at the center, containing glass-and-metal doors; these are shielded by a canopy that extends to the curb on 44th Street. A sign board is to the west of the doorway. There are stucco bas-relief panels on either side of the doorway, which contain foliate decorations. Above the doors is an entablature with a fluted panels and a broken pediment shaped like a segmental arch. The center of the broken pediment has an urn, while the sides of the pediment have carvings of dolphins.{{harvnb|ps=.|Morrison|1999|p=88}}
A brick wall rises from the doorway. Like on 45th Street, there are vertical quoins with Corinthian capitals on the left and right. At the top of the brick wall, there is a stucco frieze that originally contained sgraffito decorations. There is a window above the frieze, which is flanked by scrolls and console brackets. The window has a broken pediment with swags draped from a theatrical mask in the center. The top of the corner section has a cornice, above which is a metal sign.
== Shubert Alley ==
Image:Booth Theatre Shubert Theatre NYC 2007.jpg facade, 2007]]
On Shubert Alley, the facade is divided into the stage house to the left (south) and the auditorium to the right (north). The auditorium section contains one set of glass-and-metal doors at the far right. Like the elevations on 45th Street and at the northeast corner, the right side of the auditorium facade contains vertical quoins topped by a Corinthian capital. Also similar to the 45th Street elevation, there is a brick wall section above the first floor, surrounded by a stucco sgraffito band with bas-reliefs. At the top of the brick wall is a stucco wall section, containing sgraffito decorations alternating with three octagonal terracotta panels.
The stage house section (shared with the Shubert Theatre) is simpler in design, being made mainly of brick in English cross bond. The ground floor has doorways, metal panels, and sign boards. A band of quoins separates the stage house from the Shubert auditorium to the left and the Booth auditorium to the right. The second to fourth floors have one-over-one sash windows, while the fifth floor has a terracotta shield at the center. The top of the stage house contains a parapet, above which is a sgraffito panel surrounded by bricks. The stage door is within this section.
=Interior=
== Lobby ==
The theater contains both a ticket lobby and a rectangular inner lobby. The use of two lobbies, rather than a single space leading directly to the auditorium, was intended to reduce the air drafts and noise that entered the auditorium.{{cite news|date=October 11, 1913|title=Bennett Comedy to Open Booth Theater in New York: Dollars and Sense" a Baseball Play|page=14|work=The Christian Science Monitor|id={{ProQuest|194062352}}}} The inner lobby's east wall contains exits with molded doorways, above which are exit signs with cornices. The north wall of the inner lobby contains a niche with a bust of actor Edwin Booth, the theater's namesake. This is a copy of a bust that was installed in the Players Club, where Booth was a member. The west wall contains brass lighting sconces and doors to the auditorium. At the top of the walls is a Doric frieze. The inner lobby contains a coffered ceiling, with chandeliers hanging from each ceiling section.{{harvnb|Landmarks Preservation Commission Interior|1987|ps=.|p=20}}
==Auditorium==
The auditorium has an orchestra level, one balcony, boxes, and a stage behind the proscenium arch. The auditorium is wider than its depth. According to the Shubert Organization, the theater has 800 seats;{{cite web|date=October 16, 1913|title=Booth Theatre|url=https://shubert.nyc/theatres/booth/|access-date=December 29, 2021|website=Shubert Organization}} meanwhile, The Broadway League gives a figure of 766 seats and Playbill cites 770 seats. The physical seats are divided into 514 seats in the orchestra, 252 on the balcony, and 12 in the boxes. There are 22 standing-only spots, as well as 30 removable seats in the orchestra pit. Originally, the orchestra had 445 seats while the balcony had 223.{{cite news|date=October 12, 1913|title=The Booth Theatre: Some Notes on the Decoration of Mr. Ames's Playhouse|page=B7|work=New-York Tribune|id={{ProQuest|575154966}}}} The theater contains restrooms in the basement and on the orchestra level, as well as water fountains. The orchestra level is wheelchair-accessible, but the balcony is not.
The original decorative scheme was described as being gray and "rich mulberry". The interior was also decorated with Booth memorabilia such as his favorite armchair, as well as posters and playbills of shows in which Booth had appeared. Architecture magazine cited the Booth's interior as being "unusually good in design, tasteful, quiet and charming".
===Seating areas===
The orchestra is accessed from doors on the rear, or east. The rear of the orchestra contains a promenade. Paneled piers support the balcony level and separate the promenade from the orchestra seating. The top of the orchestra promenade's walls contain a Doric-style frieze.{{harvnb|Landmarks Preservation Commission Interior|1987|ps=.|p=21}} Brass lanterns hang from the promenade's ceiling.{{harvnb|Landmarks Preservation Commission Interior|1987|ps=.|p=22}} The orchestra level is raked, sloping down toward an orchestra pit in front of the stage.{{harvnb|Landmarks Preservation Commission Interior|1987|ps=.|pp=20–21}} The balcony is also raked, and the rear of the balcony contains a promenade, similar to that on the orchestra. The balcony promenade is demarcated by a frieze on its ceiling, which contains brass-and-crystal chandeliers. Archways, flanked by columns, lead between the balcony promenade and the balcony seating.{{harvnb|Landmarks Preservation Commission Interior|1987|ps=.|pp=21–22}} There is also a technical booth at the rear of the balcony. At the front of the balcony level is a box on either side, supported by brackets. The underside of the balcony contains wood paneling. The front railing of the balcony and boxes contains paneled sections with strapwork patterns; a light box is installed in front of the balcony railing.
The orchestra has paneled wooden side walls, which curve inward toward the stage. The paneled walls at orchestra level continue at balcony level, up to the height of the proscenium arch (about two-thirds of the auditorium's height{{harvnb|Morrison|1999|ps=.|p=89}}). Above the paneling is a Doric-style frieze and cornice. At the top of the balcony walls are elliptical arches with casement windows above paneling; there are three such windows on each wall. Between these arches are wall sections, which contain wall sconces flanked by engaged columns. An entablature runs across the wall sections and above the rear of the balcony seating. The use of casement windows above paneled walls is an uncommon design feature among Broadway theaters.
===Other design features===
Next to the boxes is an elliptical proscenium arch, which is surrounded by molded decorations. The proscenium opening measures about {{convert|36|ft|2|in}} wide and {{convert|25|ft|1|in}} tall. The sides of the proscenium arch are continuations of the wall paneling on the lowest two-thirds of the auditorium. The top of the proscenium opening contains a plasterwork, which is a continuation of the top third of the auditorium walls. The depth of the auditorium to the proscenium is {{convert|29|ft|9|in}}, while the depth to the front of the stage is {{convert|33|ft|4|in}}.
The coved ceiling rises above the entablature at the top of the auditorium's walls. The coved ceiling is interrupted at several points by the arched openings on the side walls and at the rear of the balcony seating. At these locations, there are groined ceiling sections with molded borders. The primary section of the ceiling has a wide band of latticework, which is interrupted by four semicircles with plasterwork borders. The latticework band surrounds the central ceiling panel. Four chandeliers hang from the ceiling.
== Other interior spaces ==
The dressing rooms are separated from the stages of each theater by a heavy fireproof wall. The two theaters are separated from each other by a {{Convert|2|ft|4=-thick|adj=mid}} wall.{{Cite report|url=http://s-media.nyc.gov/agencies/lpc/lp/1378.pdf|title=Shubert Theater|date=December 15, 1987|publisher=New York City Landmarks Preservation Commission|page=15|access-date=January 30, 2022|ref=none}}{{cite magazine|date=November 1913|title=Architecture and Building|url=https://books.google.com/books?id=FRciAQAAMAAJ|publisher=W.T. Comstock Company|volume=45|page=467}} A gift shop called One Shubert Alley opened between the Shubert and Booth theaters in 1979, within three of the Booth's former dressing rooms.{{Cite news|last=Robinson|first=Ruth|date=August 14, 1979|title=A Shop That Says: Regards to Broadway|language=en-US|work=The New York Times|url=https://www.nytimes.com/1979/08/14/archives/a-shop-that-says-regards-to-broadway.html|access-date=January 31, 2022|issn=0362-4331}} The emergency exits of both theaters were composed of "fire- and smoke-proof towers" rather than exterior fire escapes.{{Cite news|date=May 27, 1912|title=Two New Theatres in the Times Square District.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1912/05/27/archives/two-new-theatres-in-the-times-square-district.html|access-date=January 27, 2022|issn=0362-4331}}
History
Times Square became the epicenter for large-scale theater productions between 1900 and the Great Depression.{{Cite web|last=Swift|first=Christopher|date=2018|title=The City Performs: An Architectural History of NYC Theater|url=https://www.arcgis.com/apps/MapJournal/index.html?appid=dbe468bfd33343dc96c23db1da55f803|url-status=live|archive-url=https://web.archive.org/web/20200325233910/https://www.arcgis.com/apps/MapJournal/index.html%3Fappid%3Ddbe468bfd33343dc96c23db1da55f803|archive-date=March 25, 2020|access-date=March 25, 2020|publisher=New York City College of Technology, City University of New York}} Manhattan's theater district had begun to shift from Union Square and Madison Square during the first decade of the 20th century.{{cite web|title=Theater District –|url=https://www.nypap.org/preservation-history/theater-district|url-status=live|archive-url=https://web.archive.org/web/20211019151144/https://www.nypap.org/preservation-history/theater-district/|archive-date=October 19, 2021|access-date=October 12, 2021|website=New York Preservation Archive Project}}{{harvnb|Landmarks Preservation Commission|1987|p=2|ps=.}} From 1901 to 1920, forty-three theaters were built around Broadway in Midtown Manhattan, including the Shubert Theatre.{{harvnb|Landmarks Preservation Commission|1987|p=4|ps=.}} The venue was developed by the Shubert brothers of Syracuse, New York, who expanded downstate into New York City in the first decade of the 20th century.{{harvnb|Landmarks Preservation Commission|1987|ps=.|p=8}}{{harvnb|Stagg|1968|ps=.|p=208}} After the death of Sam S. Shubert in 1905, his brothers Lee and Jacob J. Shubert expanded their theatrical operations significantly.{{harvnb|Landmarks Preservation Commission|1987|ps=.|p=9}}{{harvnb|Stagg|1968|ps=.|p=75}} The brothers controlled a quarter of all plays and three-quarters of theatrical ticket sales in the U.S. by 1925.{{harvnb|Stagg|1968|ps=.|p=217}}
Meanwhile, Winthrop Ames, a member of a wealthy publishing family, did not enter the theatrical industry until 1905, when he was 34 years old.{{Cite news|date=November 4, 1937|title=Winthrop Ames, 66, Producer, is Dead; One of Important Forces for Many Years in American Theatre's Development|language=en-US|work=The New York Times|url=https://www.nytimes.com/1937/11/04/archives/winthrop-ames-66-producer-is-dead-one-of-important-forces-for-many.html|access-date=January 11, 2022|issn=0362-4331}}{{harvnb|Landmarks Preservation Commission|1987|ps=.|pp=7–8}} After being involved in the development of two large venues, Boston's Castle Square Theatre and New York City's New Theatre, Ames decided to focus on erecting smaller venues during the Little Theatre Movement.
=Development and early years=
== Construction ==
As the Shuberts were developing theaters in the early 1910s, Ames was planning to build a replacement for the New Theatre. Though the New had been completed in 1909, Ames and the theater's founders saw the venue, on the Upper West Side, as being too large and too far away from Times Square.{{Cite news|date=September 9, 1911|title=Ames's Playhouse in Times Square; Former Director of New Theatre May Build in 46th Street Smallest Theatre in City.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1911/09/09/archives/amess-playhouse-in-times-square-former-director-of-new-theatre-may.html|access-date=January 11, 2022|issn=0362-4331}} The New Theatre's founders acquired several buildings at 219–225 West 44th Street and 218–230 West 45th Street in March 1911, for the construction of a "new New Theatre" there. The theater would have contained a private alley to the east. The project was canceled in December 1911, after the site had been cleared, when Ames announced he would build the Little Theatre (now the Hayes Theater) across 44th Street.{{Cite news|date=December 21, 1911|title=Founders Abandon the New Theatre; Decide After Razing Buildings in West 44th Street It Would Not Be Wise to Build.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1911/12/21/archives/founders-abandon-the-new-theatre-decide-after-razing-buildings-in.html|access-date=January 27, 2022|issn=0362-4331}}{{cite news|date=December 21, 1911|title=New Theatre Abandoned: Founders Believe It Unwise to Proceed With Enterprise Had Bought New Site Founders Opened First Playhouse in 1909, and Many New Plays Were Produced There|page=7|work=New-York Tribune|id={{ProQuest|574855982}}}} The New Theatre's founders cited the difficulty of finding a director for the new New Theatre, as well as possible competition with Ames's Little Theatre.
In April 1912, Winthrop Ames and Lee Shubert decided to lease the site of the new New Theatre from the Astor family. Two theaters would be built on the site, along with a private alley to their east.{{Cite news|date=April 2, 1912|title=Two Theatres on New Theatre Site; Shubert and Ames Get Large Plot in West 44th Street, Back of Hotel Astor.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1912/04/02/archives/two-theatres-on-new-theatre-site-shubert-and-ames-get-large-plot-in.html|access-date=January 27, 2022|issn=0362-4331}}{{cite news|date=April 2, 1912|title=Senator Williams, Lecturer|page=7|work=New-York Tribune|id={{ProQuest|574913550}}}} Shubert's theater was to be the larger venue, being on 44th Street, while Ames's theater would be on 45th Street and would have half the seating capacity.{{cite magazine|date=May 18, 1912|title=The Amusement Week in New York: Up and Down Broadway|volume=24|issue=20|pages=20|id={{ProQuest|1031437440}}|magazine=The Billboard}}{{harvnb|Chach|2014|p=47|ps=.}} The larger theater was known as the Sam S. Shubert Theatre, in memory of Lee's late brother, while the smaller one was named after Edwin Booth.{{cite news|date=September 12, 1913|title=New Theaters for New York: Last Year's Record Not Quite Equalled a Now Shubert House and One for Winthrop Ames "the Lure" and "the Fight" Continue in Limelight|page=7|work=The Hartford Courant|issn=1047-4153|id={{ProQuest|556023582}}}} The Booth Theatre became the second New York City venue to bear Booth's name, after Booth's Theatre at 23rd Street and Sixth Avenue, completed in 1869 for Booth himself.{{cite magazine|date=August 9, 1913|title=An Edwin Booth Theater for New York|magazine=Outlook|volume=104|issue=15|page=787|id={{ProQuest|136635165}}}} In the planning stages, the Booth Theatre on 45th Street was named the Ames Theatre. In September 1912, Ames indicated that he would call the theater the Gotham;{{Cite news|date=September 27, 1912|title=Michigan Democrats Meet; Old State Committee Retains Its Hold on the Organization.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1912/09/27/archives/michigan-democrats-meet-old-state-committee-retains-its-hold-on-the.html|access-date=February 9, 2022|issn=0362-4331}} the name was in use until at least August 1913.{{cite magazine|date=August 1, 1913|title=With the Press Agents|volume=31|issue=9|pages=12|id={{ProQuest|1529165398}}|magazine=Variety}} Ultimately, Ames named his 45th Street theater after Booth because Ames's father had worked directly for Booth at the old theater.
Documents indicate that several architects were consulted for the theaters' design, including Clarence H. Blackall, before the Shuberts hired Henry B. Herts for the job. An "ice palace" was also planned on the site now occupied by the Broadhurst and Schoenfeld theaters.{{Cite news|last=Gray|first=Christopher|date=July 3, 2014|title=Shubert Alley: Star-Gazing, but Maybe Not on Mondays|language=en-US|work=The New York Times|url=https://www.nytimes.com/2014/07/06/realestate/shubert-alley-star-gazing-but-maybe-not-on-mondays.html|access-date=February 9, 2022|issn=0362-4331}} Work on the two theaters started in May 1912. The next month, the new-building application for the New Theatre (which had been filed in 1911) was withdrawn, and two new-building applications for Shubert's and Ames's theaters were filed.{{harvnb|Landmarks Preservation Commission|1987|ps=.|p=17}} Herts began accepting bids for construction contractors that July,{{cite magazine|date=July 13, 1912|title=Theatres|url=https://rerecord.library.columbia.edu/document.php?vol=ldpd_7031148_050&page=ldpd_7031148_050_00000122&no=3|volume=90|pages=76|number=2313|journal=The Real Estate Record: Real Estate Record and Builders' Guide|via=columbia.edu}} and the Fleischmann Bros. Company was selected the following month to construct both of the new theaters.{{cite magazine|date=August 10, 1912|title=Theatres|url=https://rerecord.library.columbia.edu/document.php?vol=ldpd_7031148_050&page=ldpd_7031148_050_00000375&no=2|volume=90|pages=213|number=2317|journal=The Real Estate Record: Real Estate Record and Builders' Guide|via=columbia.edu}} The project encountered several delays and disputes over costs. Documents indicate that the Fleischmann Bros. had expressed concerns of imprecise drawings and fired several workers.{{harvnb|Chach|2014|pp=47–48|ps=.}} Further delays occurred when Ames requested several changes to the Booth's design in mid-1912; Herts said this would require the plans to be completely redone, while J. J. Shubert believed the changes were superficial.
== Ames operation ==
Ames wanted to operate the new theater as an intimate venue that was "large enough to make possible the usual scale of orchestra and balcony prices".{{Cite news|date=October 26, 1913|title=Theatre Old and New; Methods and Conditions in the Days of Booth as Compared with Those of the Modern Playhouse.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1913/10/26/archives/theatre-old-and-new-methods-and-conditions-in-the-days-of-booth-as.html|access-date=January 30, 2022|issn=0362-4331}} The Booth was supposed to open on October 10, 1913, but its opening was postponed by six days{{cite magazine|date=October 11, 1913|title=Booth Theater Opening Postponed|volume=25|issue=41|pages=58|id={{ProQuest|1031455572}}|magazine=The Billboard}} because a heavy rain flooded the basement.{{Cite news|date=October 4, 1913|title=The Booth Opens Oct. 16.; Water In Sub-Cellar Causes Postponement of 'The Great Adventure.'|language=en-US|work=The New York Times|url=https://www.nytimes.com/1913/10/04/archives/the-booth-opens-oct-16-water-in-subcellar-causes-postponement-of.html|access-date=January 30, 2022|issn=0362-4331}} The theater opened on October 16 with the Arnold Bennett play The Great Adventure with Lyn Harding and Janet Beecher;{{Cite news|date=October 17, 1913|title=Bennett Play Opens New Booth Theatre; But Though "The Great Adventure" Has Charm and Humor, It Doesn't Satisfy Completely.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1913/10/17/archives/bennett-play-opens-new-booth-theatre-but-though-the-great-adventure.html|access-date=January 30, 2022|issn=0362-4331}}{{cite news|date=October 17, 1913|title="the Great Adventure": Charming Comedy Opens the New Booth Theatre Janet Beecher Scores Arnold Bennett's Play of Art and Its Appreciation Well Received Janet Beecher and Lyn Happing in "the Great Adventure."'|page=9|work=New-York Tribune|id={{ProQuest|575153834}}}} it closed after 52 performances.{{harvnb|Botto|Mitchell|2002|ps=|p=89}}; {{harvnb|Landmarks Preservation Commission|1987|p=28|ps=.}} At the time, there were just two other theaters on the surrounding blocks: the Little Theatre and the now-demolished Weber and Fields' Music Hall. The first successful production at the Booth was Experience with William Elliott, which opened in late 1914{{harvnb|Bloom|2007|ps=|p=35}}; {{harvnb|Botto|Mitchell|2002|ps=.|p=89}}{{Cite news|date=November 1, 1914|title=Hard Work in "Experience"|language=en-US|work=The New York Times|url=https://www.nytimes.com/1914/11/01/archives/hard-work-in-experience.html|access-date=January 30, 2022|issn=0362-4331}} and continued for 255 performances.{{cite web|author=The Broadway League|date=October 27, 1914|title=Experience – Broadway Play – Original|url=https://www.ibdb.com/broadway-production/experience-8075|access-date=January 30, 2022|website=IBDB}}
{{Cite web|title=Experience (Broadway, Booth Theatre, 1914)|url=https://playbill.com/production/experience-booth-theatre-vault-0000001906|access-date=January 30, 2022|website=Playbill|language=en}} Ames also hosted a competition for the best play on an American subject by an American writer; he awarded the $10,000 prize to Alice Brown's play Children of Earth, which was shown at the Booth in January 1915.{{cite news|last=Turnbull|first=Hector|date=January 13, 1915|title=A Prize Play at the Booth: "the Children of Earth," by Alice Brown, Is Presented Effie Shannon Is the Heroine a Truly American Drama That Is Splendidly Pictured and Played the Cast|page=9|work=New-York Tribune|id={{ProQuest|575339373}}}}{{harvnb|Landmarks Preservation Commission|1987|ps=.|p=19}} That April, the theater hosted The Bubble with Louis Mann,{{Cite news|date=April 6, 1915|title=Pleasant Humor Fills 'The Bubble'; The Booth Houses a Homely Comedy of Delicatessen Earnings Become Frenzied.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1915/04/06/archives/pleasant-humor-fills-the-bubble-the-booth-houses-a-homely-comedy-of.html|access-date=January 30, 2022|issn=0362-4331}} which had 176 performances.{{harvnb|Botto|Mitchell|2002|ps=|p=89}}; {{harvnb|Landmarks Preservation Commission|1987|p=29|ps=.}}{{cite web|author=The Broadway League|date=April 5, 1915|title=The Bubble – Broadway Play – Original|url=https://www.ibdb.com/broadway-production/the-bubble-8171|access-date=January 30, 2022|website=IBDB}}
{{Cite web|title=The Bubble (Broadway, Booth Theatre, 1915)|url=https://playbill.com/production/the-bubble-booth-theatre-vault-0000001902|access-date=January 30, 2022|website=Playbill|language=en}}
The Booth hosted numerous moderately successful plays by notable playwrights in the late 1910s. Among these were George Bernard Shaw's Getting Married in 1916, featuring Henrietta Crosman and William Faversham.{{Cite news|last=Woollcott|first=Alexander|date=November 12, 1916|title=Second Thoughts on First Nights; " The Yellow Jacket"---"Getting Married"---Willie Howard---A Note on "Major Pendennis."|language=en-US|work=The New York Times|url=https://www.nytimes.com/1916/11/12/archives/second-thoughts-on-first-nights-the-yellow-jacketgetting.html|access-date=January 30, 2022|issn=0362-4331}} Another successful play arrived at the Booth in early 1917 with the opening of Clare Kummer's A Successful Calamity with William Gillette, Estelle Winwood, and Roland Young.{{harvnb|Bloom|2007|ps=|p=35}}; {{harvnb|Botto|Mitchell|2002|ps=|p=89}}; {{harvnb|Landmarks Preservation Commission|1987|p=29|ps=.}}{{Cite news|date=February 6, 1917|title=Gillette Returns in a Brilliant Play; "A Successful Calamity" a Delightful Successor to" Good Gracious Annabelle"|language=en-US|work=The New York Times|url=https://www.nytimes.com/1917/02/06/archives/gillette-returns-in-a-brilliant-play-a-successful-calamity-a.html|access-date=January 30, 2022|issn=0362-4331}} De Luxe Annie opened later the same year, featuring Jane Grey and Vincent Serrano.{{cite web|author=The Broadway League|date=September 4, 1917|title=De Luxe Annie – Broadway Play – Original|url=https://www.ibdb.com/broadway-production/de-luxe-annie-6955|access-date=January 30, 2022|website=IBDB}}
{{Cite web|title=De Luxe Annie (Broadway, Booth Theatre, 1917)|url=https://playbill.com/production/de-luxe-annie-booth-theatre-vault-0000001889|access-date=January 30, 2022|website=Playbill|language=en}}{{Cite news|date=September 5, 1917|title=A Novel Mystery in 'De Luxe Annie'; Exciting and Well-Knit Crook Play Based on Abnormal Psychology|language=en-US|work=The New York Times|url=https://www.nytimes.com/1917/09/05/archives/a-novel-mystery-in-de-luxe-annie-exciting-and-wellknit-crook-play.html|access-date=January 30, 2022|issn=0362-4331}} The play Seventeen, based on a Booth Tarkington novel, opened at the Booth in 1918 with Ruth Gordon and Gregory Kelly.{{cite web|author=The Broadway League|date=January 22, 1918|title=Seventeen – Broadway Play – Original|url=https://www.ibdb.com/broadway-production/seventeen-8655|access-date=January 30, 2022|website=IBDB}}
{{Cite web|title=Seventeen (Broadway, Booth Theatre, 1918)|url=https://playbill.com/production/seventeen-booth-theatre-vault-0000001888|access-date=January 30, 2022|website=Playbill|language=en}}{{Cite news|date=January 22, 1918|title=The Tragi-comedy of 'Seventeen'; Booth Tarkington's Study of Man's Futile Age in an Amusing Stage Version|language=en-US|work=The New York Times|url=https://www.nytimes.com/1918/01/22/archives/the-tragicomedy-of-seventeen-booth-tarkingtons-study-of-mans-futile.html|access-date=January 30, 2022|issn=0362-4331}} This was followed in 1919 by the mystery The Woman in Room 13{{harvnb|Botto|Mitchell|2002|ps=|p=89}}; {{harvnb|Landmarks Preservation Commission|1987|p=30|ps=.}} and the W. Somerset Maugham comedy Too Many Husbands.{{Cite news|last=Woollcott|first=Alexander|date=October 9, 1919|title=The Play|language=en-US|work=The New York Times|url=https://www.nytimes.com/1919/10/09/archives/the-play.html|access-date=January 30, 2022|issn=0362-4331}}
In 1920, the Booth hosted the melodrama The Purple Mask with Leo Ditrichstein;{{harvnb|Botto|Mitchell|2002|ps=|p=90}}; {{harvnb|Landmarks Preservation Commission|1987|p=30|ps=.}}{{Cite news|last=Woollcott|first=Alexander|date=January 6, 1920|title=The Play|language=en-US|work=The New York Times|url=https://www.nytimes.com/1920/01/06/archives/the-play.html|access-date=January 30, 2022|issn=0362-4331}} the play Not So Long Ago with Eva Le Gallienne, Sidney Blackmer, and Thomas Mitchell;{{cite web|author=The Broadway League|date=May 4, 1920|title=Not So Long Ago – Broadway Play – Original|url=https://www.ibdb.com/broadway-production/not-so-long-ago-6800|access-date=January 30, 2022|website=IBDB}}
{{Cite web|title=Not So Long Ago (Broadway, Booth Theatre, 1920)|url=https://playbill.com/production/not-so-long-ago-booth-theatre-vault-0000001880|access-date=January 30, 2022|website=Playbill|language=en}}{{Cite news|date=May 5, 1920|title='Not So Long Ago' a Captivating Play; Little Comedy by Arthur Richman Tells of Life in New York in Early '70s|language=en-US|work=The New York Times|url=https://www.nytimes.com/1920/05/05/archives/not-so-long-ago-a-captivating-play-little-comedy-by-arthur-richman.html|access-date=January 30, 2022|issn=0362-4331}} and a dramatization of Mark Twain's The Prince and the Pauper with Ruth Findlay and William Faversham.{{cite web|author=The Broadway League|date=November 1, 1920|title=The Prince and the Pauper – Broadway Play – Original|url=https://www.ibdb.com/broadway-production/the-prince-and-the-pauper-8340|access-date=January 30, 2022|website=IBDB}}
{{Cite web|title=The Prince and the Pauper (Broadway, Booth Theatre, 1920)|url=https://playbill.com/production/the-prince-and-the-pauper-booth-theatre-vault-0000001878|access-date=January 30, 2022|website=Playbill|language=en}}{{Cite news|date=November 2, 1920|title="Prince and the Pauper"; Wm. Faversham Excels in Charming Play Made from Twain Story.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1920/11/02/archives/prince-and-the-pauper-wm-faversham-excels-in-charming-play-made.html|access-date=January 30, 2022|issn=0362-4331}} The next year, the play The Green Goddess opened with George Arliss,{{harvnb|Bloom|2007|ps=|p=35}}; {{harvnb|Botto|Mitchell|2002|ps=|p=90}}; {{harvnb|Landmarks Preservation Commission|1987|p=19|ps=.}}{{Cite news|last=Woollcott|first=Alexander|date=January 19, 1921|title=The Play|language=en-US|work=The New York Times|url=https://www.nytimes.com/1921/01/19/archives/the-play.html|access-date=January 30, 2022|issn=0362-4331}} staying for 440 performances.{{efn|The Broadway League gives a different figure of 175 performances.}} A. A. Milne's play The Truth About Blayds opened at the theater in 1922, featuring O. P. Heggie, Leslie Howard, Frieda Inescort, and Ferdinand Gottschalk.{{Cite news|last=Woollcott|first=Alexander|date=March 15, 1922|title=The Play|language=en-US|work=The New York Times|url=https://www.nytimes.com/1922/03/15/archives/the-play.html|access-date=January 30, 2022|issn=0362-4331}} Seventh Heaven premiered later the same year,{{Cite news|last=Corbin|first=John|date=October 31, 1922|title=The Play; The Drama of Job.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1922/10/31/archives/the-play-the-drama-of-job.html|access-date=January 30, 2022|issn=0362-4331}} running for 683 performances. In 1924, the Booth hosted Dancing Mothers with Helen Hayes, Mary Young, and Henry Stephenson.{{Cite news|date=August 12, 1924|title='Dancing Mothers' Has Novel Climax; Interesting, Although Stereotyped, Play by Selwyn and Goulding Shown at the Booth.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1924/08/12/archives/dancing-mothers-has-novel-climax-interesting-although-stereotyped.html|access-date=January 30, 2022|issn=0362-4331}}{{cite web|author=The Broadway League|date=August 11, 1924|title=Dancing Mothers – Broadway Play – Original|url=https://www.ibdb.com/broadway-production/dancing-mothers-9545|access-date=January 30, 2022|website=IBDB}}
{{Cite web|title=Dancing Mothers (Broadway, Booth Theatre, 1924)|url=https://playbill.com/production/dancing-mothers-booth-theatre-vault-0000001871|access-date=January 30, 2022|website=Playbill|language=en}} This was followed shortly thereafter by George S. Kaufman and Edna Ferber's play Minick,{{harvnb|Botto|Mitchell|2002|ps=|p=90}}; {{harvnb|Landmarks Preservation Commission|1987|p=31|ps=.}}{{cite news|last=Hammond|first=Percy|date=September 25, 1924|title=The Theaters: "Minick," a Comedy of Youth and an Old Man, Is One of the Theater's Very Best Phyllis Povah|page=12|work=The New York Herald, New York Tribune|id={{ProQuest|1113276814}}}} as well as the Theatre Guild's version of Ferenc Molnár's play The Guardsman with Alfred Lunt and Lynn Fontanne.{{cite web|author=The Broadway League|date=October 13, 1924|title=The Guardsman – Broadway Play – Original|url=https://www.ibdb.com/broadway-production/the-guardsman-9598|access-date=January 30, 2022|website=IBDB}}
{{Cite web|title=The Guardsman (Broadway, Garrick Theatre, 1924)|url=https://playbill.com/production/the-guardsman-garrick-theatre-vault-0000012032|access-date=January 30, 2022|website=Playbill|language=en}}{{cite news|date=February 1, 1925|title='Guardsman' Molnars Latest Stage Satire|page=S16|newspaper=The Washington Post|issn=0190-8286|id={{ProQuest|149539924}}}}
Many productions at the Booth in 1925 and 1926 were flops. Among the Booth's productions in 1925 were Horace Liveright's revival of Shakespeare's Hamlet with Basil Sydney and Helen Chandler,{{Cite news|last=Anderson|first=Sherwood|date=November 15, 1925|title=Hamlet in Modern Dress.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1925/11/15/archives/hamlet-in-modern-dress.html|access-date=January 30, 2022|issn=0362-4331}} as well as the comedy The Patsy with Claiborne Foster.{{Cite news|date=December 24, 1925|title=The Patsy" Artistic and Highly Amusing; Barry Conners's Intelligent Play Aided by the Fine Performance of Claiborne Foster.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1925/12/24/archives/the-patsy-artistic-and-highly-amusing-barry-connerss-intelligent.html|access-date=January 30, 2022|issn=0362-4331}} The next year, Ames produced a short-lived version of Philip Barry's comedy White Wings.{{Cite news|last=Atkinson|first=J. Brooks|date=October 16, 1926|title=The Play|language=en-US|work=The New York Times|url=https://www.nytimes.com/1926/10/16/archives/the-play.html|access-date=January 30, 2022|issn=0362-4331}} The Booth finally had another hit in early 1927 with the Maxwell Anderson comedy Saturday's Children with Beulah Bondi, Ruth Gordon, and Roger Pryor,{{Cite news|last=Atkinson|first=J. Brooks|date=January 27, 1927|title=Marriage, Love, &c.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1927/01/27/archives/marriage-love-c.html|access-date=January 30, 2022|issn=0362-4331}} which had 310 performances.{{cite web|author=The Broadway League|date=January 26, 1927|title=Saturday's Children – Broadway Play – Original|url=https://www.ibdb.com/broadway-production/saturdays-children-10218|access-date=January 30, 2022|website=IBDB}}
{{Cite web|title=Saturday's Children (Broadway, Booth Theatre, 1927)|url=https://playbill.com/production/saturdays-children-booth-theatre-vault-0000001855|access-date=January 30, 2022|website=Playbill|language=en}} Also that year, Leslie Howard and Frieda Inescort returned in Ames's production of John Galsworthy's Escape.{{cite news|last=Hammond|first=Percy|date=October 27, 1927|title=The Theaters: 'Escape, Another Adult and Interesting John Galsworthy Drama, Is Presented Successfully by Winthrop Ames at the Booth Theater Leslie Howard|page=18|work=New York Herald Tribune|id={{ProQuest|1113720534}}}} The revue Grand Street Follies was presented at the Booth in 1928 and 1929, with James Cagney and Dorothy Sands.{{harvnb|Botto|Mitchell|2002|ps=|pp=90–91}}; {{harvnb|Landmarks Preservation Commission|1987|p=32|ps=.}}{{Cite news|last=Atkinson|first=J. Brooks|date=May 2, 1929|title=The Play; Follies, Grand Street Style.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1929/05/02/archives/the-play-follies-grand-street-style.html|access-date=January 30, 2022|issn=0362-4331}} Ames announced his retirement from producing in October 1929, though he said he would continue to control the Booth Theatre.{{Cite news|date=October 1, 1929|title=Winthrop Ames Quits as Producer; Decides to Leave Field in Which He Has Been Prominent for Twenty-five Years|language=en-US|work=The New York Times|url=https://www.nytimes.com/1929/10/01/archives/winthrop-ames-quits-as-producer-decides-to-leave-field-in-which-he.html|access-date=January 12, 2022|issn=0362-4331}} The same month, the play Jenny opened at the theater, featuring Jane Cowl and Guy Standing.{{Cite news|last=Atkinson|first=J. Brooks|date=October 9, 1929|title=The Play; Jane Cowl and Guy Standing.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1929/10/09/archives/the-play-jane-cowl-and-guy-standing.html|access-date=January 30, 2022|issn=0362-4331}}{{harvnb|Botto|Mitchell|2002|ps=|p=91}}; {{harvnb|Landmarks Preservation Commission|1987|p=32|ps=.}}
= Shubert operation =
== 1930s and 1940s ==
File:Booth Theatre on Broadway (7645535000).jpg
The Booth hosted about fifty productions in the 1930s. Though the theater was always quickly rebooked because of its location in the center of the Theater District, many of these shows were short-lived or relocated from other venues.{{harvnb|Bloom|2007|ps=|p=35}}; {{harvnb|Botto|Mitchell|2002|ps=.|p=90}} One of the more notable short runs was Elmer Harris's A Modern Virgin in 1931, in which Margaret Sullavan performed for the first time on a Broadway stage.{{harvnb|Botto|Mitchell|2002|ps=|p=91}}; {{harvnb|Landmarks Preservation Commission|1987|p=33|ps=.}}{{Cite news|last=Atkinson|first=J. Brooks|date=May 21, 1931|title=The Play; Sex Still in the Ascendancy.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1931/05/21/archives/the-play-sex-still-in-the-ascendancy.html|access-date=January 30, 2022|issn=0362-4331}} This was followed in 1932 by Another Language,{{Cite news|date=April 25, 1932|title=Theatrical Notes|language=en-US|work=The New York Times|url=https://www.nytimes.com/1932/04/25/archives/theatrical-notes.html|access-date=January 30, 2022|issn=0362-4331}} starring John Beal, Margaret Hamilton, Dorothy Stickney, and Margaret Wycherly for 348 performances. That year, Ames gave up his management of the Booth entirely, and the Shuberts took over.{{cite news|last=Allen|first=Kelcey|date=October 5, 1932|title=Amusements: Winthrop Ames Now In Retirement|volume=45|pages=23|work=Women's Wear Daily|issue=67|id={{ProQuest|1654338664}}}}{{Cite news|date=October 4, 1932|title=Stokowski Plans Opera Revolution; Expects to Banish Orchestra and Singers From Sight of Audience of New 'Music Drama'|language=en-US|work=The New York Times|url=https://www.nytimes.com/1932/10/04/archives/stokowski-plans-opera-revolution-expects-to-banish-orchestra-and.html|access-date=January 31, 2022|issn=0362-4331}} In 1934, the theater hosted some moderate successes such as No More Ladies,{{harvnb|Botto|Mitchell|2002|ps=|p=91}}; {{harvnb|Landmarks Preservation Commission|1987|p=34|ps=.}}{{Cite news|last=Atkinson|first=Brooks|date=January 24, 1934|title=A.E. Thomas's New Drama Entitled "No More Ladies" -- Opening of "Mackerel Skies."|language=en-US|work=The New York Times|url=https://www.nytimes.com/1934/01/24/archives/ae-thomass-new-drama-entitled-no-more-ladies-opening-of-mackerel.html|access-date=January 31, 2022|issn=0362-4331}} The Shining Hour,{{Cite news|date=February 13, 1934|title=Theatrical Notes|language=en-US|work=The New York Times|url=https://www.nytimes.com/1934/02/13/archives/theatrical-notes.html|access-date=January 31, 2022|issn=0362-4331}} and The Distaff Side.{{Cite news|last=Atkinson|first=Brooks|date=September 26, 1934|title=The Play; Sybil Thorndike Appears in John Van Druten's Comedy of Women, 'The Distaff Side.'|language=en-US|work=The New York Times|url=https://www.nytimes.com/1934/09/26/archives/the-play-sybil-thorndike-appears-in-john-van-drutens-comedy-of.html|access-date=January 31, 2022|issn=0362-4331}} The Booth's plays in 1935 included J. B. Priestley's Laburnum Grove;{{Cite news|last=Atkinson|first=Brooks|date=January 15, 1935|title=The Play; J.B. Priestley's Suburban Mystery Drama, 'Laburnum Grove,' With Edmund Gwenn.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1935/01/15/archives/the-play-jb-priestleys-suburban-mystery-drama-laburnum-grove-with.html|access-date=January 31, 2022|issn=0362-4331}} John Gearon and Louis Bromfield's short-lived De Luxe;{{harvnb|Botto|Mitchell|2002|ps=|p=92}}; {{harvnb|Landmarks Preservation Commission|1987|p=34|ps=.}}{{Cite news|last=Atkinson|first=Brooks|date=March 6, 1935|title=The Play; End of an Epoch the Theme of 'De Luxe,' by Louis Bromfield and John Gearon.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1935/03/06/archives/the-play-end-of-an-epoch-the-theme-of-de-luxe-by-louis-bromfield-an.html|access-date=January 31, 2022|issn=0362-4331}} Edward Chodorov's Kind Lady with Grace George;{{Cite news|last=Atkinson|first=Brooks|date=April 24, 1935|title=The Play; Grace George in 'Kind Lady,' a Melodrama From a Hugh Walpole Story.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1935/04/24/archives/the-play-grace-george-in-kind-lady-a-melodrama-from-a-hugh-walpole.html|access-date=January 31, 2022|issn=0362-4331}} and James Warwick's Blind Alley with George Coulouris.{{Cite news|last=Atkinson|first=Brooks|date=September 25, 1935|title=The Play; Death to Gangsters.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1935/09/25/archives/the-play-death-to-gangsters.html|access-date=January 31, 2022|issn=0362-4331}} This was followed in 1936 by the Chinese drama Lady Precious Stream;{{Cite news|last=Atkinson|first=Brooks|date=January 28, 1936|title=The Play; ' Lady Precious Stream,' by Dr. S.I. Hsiung, or the Poor Gardener Who Made Good.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1936/01/28/archives/the-play-lady-precious-stream-by-dr-si-hsiung-or-the-poor-gardener.html|access-date=January 31, 2022|issn=0362-4331}} Sweet Aloes, where Rex Harrison premiered on Broadway;{{harvnb|Botto|Mitchell|2002|ps=|p=92}}; {{harvnb|Landmarks Preservation Commission|1987|p=19|ps=.}}{{Cite news|last=Atkinson|first=Brooks|date=March 5, 1936|title=Evelyn Laye in 'Sweet Aloes,' From England -- 'Chalk Dust,' a Drama About Education.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1936/03/05/archives/evelyn-laye-in-sweet-aloes-from-england-chalk-dust-a-drama-about.html|access-date=January 31, 2022|issn=0362-4331}} and the wrestling farce Swing Your Lady.{{Cite news|last=Atkinson|first=Brooks|date=October 19, 1936|title=Wrestling Ring Rumpus in 'Swing Your Lady!' -- Opening of Samson Raphaelson's 'White Man.'|language=en-US|work=The New York Times|url=https://www.nytimes.com/1936/10/19/archives/wrestling-ring-rumpus-in-swing-your-lady-opening-of-samson.html|access-date=January 31, 2022|issn=0362-4331}}
George Kaufman and Moss Hart's You Can't Take It with You, with Josephine Hull and Henry Travers, premiered in December 1936{{harvnb|Bloom|2007|ps=|p=35}}; {{harvnb|Botto|Mitchell|2002|ps=|p=92}}; {{harvnb|Landmarks Preservation Commission|1987|p=19|ps=.}}{{Cite news|last=Atkinson|first=Brooks|date=December 15, 1936|title=The Play; 'You Can't Take It With You,' According to Moss Hart and George S. Kaufman.|language=en-US|work=The New York Times|url=https://www.nytimes.com/1936/12/15/archives/the-play-you-cant-take-it-with-you-according-to-moss-hart-and.html|access-date=January 31, 2022|issn=0362-4331}} and stayed for 837 performances, winning a Pulitzer Prize.{{harvnb|Botto|Mitchell|2002|ps=|p=92}}; {{harvnb|Landmarks Preservation Commission|1987|p=35|ps=.}} It was followed by Patricia Collinge's drama Dame Nature{{Cite news|last=Atkinson|first=Brooks|date=September 27, 1938|title=The Play; Theatre Guild Season Opens With 'Dame Nature' Adapted From the French|language=en-US|work=The New York Times|url=https://www.nytimes.com/1938/09/27/archives/the-play-theatre-guild-season-opens-with-dame-nature-adapted-from.html|access-date=January 31, 2022|issn=0362-4331}} and Philip Barry's drama Here Come the Clowns in 1938,{{Cite news|last=Atkinson|first=Brooks|date=December 8, 1938|title=The Play; Philip Barry's 'Here Come the Clowns' Opens With Eddie Dowling Acting the Principal Part|language=en-US|work=The New York Times|url=https://www.nytimes.com/1938/12/08/archives/the-play-philip-barrys-here-come-the-clowns-opens-with-eddie.html|access-date=January 31, 2022|issn=0362-4331}} as well as the Nancy Hamilton and Morgan Lewis revue One for the Money in 1939.{{Cite news|date=February 4, 1939|title='One for Money' Arrives Tonight; Hamilton-Lewis Revue Will Be at Booth--Brenda Forbes, Ruth Matteson in Cast|language=en-US|work=The New York Times|url=https://www.nytimes.com/1939/02/04/archives/one-for-money-arrives-tonight-hamiltonlewis-revue-will-be-at.html|access-date=January 31, 2022|issn=0362-4331}} Another Pulitzer-winning play, The Time of Your Life, opened at the Booth in late 1939.{{Cite news|last=Atkinson|first=Brooks|date=October 26, 1939|title=The Play; Saroyan's 'The Time of Your Life' Opener Theatre Guild's Twenty-second Season|language=en-US|work=The New York Times|url=https://www.nytimes.com/1939/10/26/archives/the-play-saroyans-the-time-of-your-life-opener-theatre-guilds.html|access-date=January 31, 2022|issn=0362-4331}} The Booth's productions in the 1940s generally lasted for longer than in the previous decade.{{harvnb|Botto|Mitchell|2002|ps=.|p=92}} In 1940, Hamilton and Lewis brought to the Booth the revue Two for the Show, a sequel to One for the Money that featured many of the same performers.{{Cite news|last=Atkinson|first=Brooks|date=February 18, 1940|title='TWO FOR THE SHOW'; Miniature Vaudeville Confounds Reviewer By Observing Good Taste|language=en-US|work=The New York Times|url=https://www.nytimes.com/1940/02/18/archives/two-for-the-show-miniature-vaudeville-confounds-reviewer-by.html|access-date=January 31, 2022|issn=0362-4331}} This was followed in February 1941 by the Rose Franken play Claudia with Dorothy McGuire, Frances Starr, and Donald Cook,{{Cite news|last=Atkinson|first=Brooks|date=February 13, 1941|title=The Play; 'Claudia' Brings Rose Franken Back as Author and Introduces Dorothy McGuire as Actress|language=en-US|work=The New York Times|url=https://www.nytimes.com/1941/02/13/archives/the-play-claudia-brings-rose-franken-back-as-author-and-introduces.html|access-date=January 31, 2022|issn=0362-4331}} running for one year.{{Cite news|date=February 13, 1942|title=Canzoneri in Bow as Actor Tonight; Ex-Lightweight Champion to Play Killer Kane in 'They Should Have Stood in Bed'|language=en-US|work=The New York Times|url=https://www.nytimes.com/1942/02/13/archives/canzoneri-in-bow-as-actor-tonight-exlightweight-champion-to-play.html|access-date=January 31, 2022|issn=0362-4331}} The Noël Coward comedy Blithe Spirit, featuring Mildred Natwick, Clifton Webb, and Peggy Wood, moved to the Booth in May 1942{{harvnb|Botto|Mitchell|2002|ps=|p=92}}; {{harvnb|Landmarks Preservation Commission|1987|p=36|ps=.}} and ran until the next June.{{Cite news|date=June 5, 1943|title=Comedy by Coward Suspends Tonight; 'Blithe Spirit' to Halt After 650 Performances -- Will Resume on Labor Day|language=en-US|work=The New York Times|url=https://www.nytimes.com/1943/06/05/archives/comedy-by-coward-suspends-tonight-blithe-spirit-to-halt-after-650.html|access-date=January 31, 2022|issn=0362-4331}}{{cite news|date=June 5, 1943|title=News of the Theater: 'Blithe Spirit' Closes Run at Booth Tonight After Its 650th Performance|page=6|work=New York Herald Tribune|id={{ProQuest|1268059241}}}} Another long run was The Two Mrs. Carrolls, which opened in 1943 with Elisabeth Bergner, Victor Jory, and Irene Worth{{Cite news|date=August 3, 1943|title=Bergner Opening at Booth Tonight; Her Appearance in Melodrama, 'Two Mrs. Carrolls,' Will Be First Here in 8 Years|language=en-US|work=The New York Times|url=https://www.nytimes.com/1943/08/03/archives/bergner-opening-at-booth-tonight-her-appearance-in-melodrama-two.html|access-date=January 31, 2022|issn=0362-4331}} and had 585 performances.{{harvnb|Botto|Mitchell|2002|ps=|p=93}}; {{harvnb|Landmarks Preservation Commission|1987|p=36|ps=.}}
Ralph Nelson's drama The Wind Is Ninety appeared at the Booth in 1945,{{Cite news|last=Nichols|first=Lewis|date=June 22, 1945|title=The Play|language=en-US|work=The New York Times|url=https://www.nytimes.com/1945/06/22/archives/the-play.html|access-date=January 31, 2022|issn=0362-4331}} followed by Tennessee Williams and Donald Windham's comedy You Touched Me!.{{Cite news|last=Zolotow|first=Sam|date=September 25, 1945|title='You Touched Me' Arriving Tonight; Play by Tennessee Williams and Donald Windham to Open at Booth Theatre|language=en-US|work=The New York Times|url=https://www.nytimes.com/1945/09/25/archives/you-touched-me-arriving-tonight-play-by-tennessee-williams-and.html|access-date=January 31, 2022|issn=0362-4331}} The next year, the theater hosted a revival of The Would-Be Gentleman;{{Cite news|last=Zolotow|first=Sam|date=January 9, 1946|title=Clark Will Essay Moliere Tonight; Comic in Own Interpretation of 'Would-Be Gentleman' at Booth Under Todd Aegis Show Halts, Miriam Hopkins Ill Schy to Produce Farce|language=en-US|work=The New York Times|url=https://www.nytimes.com/1946/01/09/archives/clark-will-essay-moliere-tonight-comic-in-own-interpretation-of.html|access-date=January 31, 2022|issn=0362-4331}} the mystery Swan Song;{{harvnb|Botto|Mitchell|2002|ps=|p=93}}; {{harvnb|Landmarks Preservation Commission|1987|p=37|ps=.}}{{Cite news|last=Zolotow|first=Sam|date=September 23, 1946|title='Swan Song' Ends Run on Saturday; Psychological Drama by Hecht and MacArthur Will Close After 155 Performances|language=en-US|work=The New York Times|url=https://www.nytimes.com/1946/09/23/archives/swan-song-ends-run-on-saturday-psychological-drama-by-hecht-and.html|access-date=January 31, 2022|issn=0362-4331}} and a revival of The Playboy of the Western World.{{Cite news|last=Calta|first=Louis|date=December 10, 1946|title=News of the Stage; 'Playboy of the Western World' to End Broadway Run Jan. 4 After 81 Performances, Said to Be Record for the Comedy Another Wilde Revival Rehearsals of "S'Wonderful"|language=en-US|work=The New York Times|url=https://www.nytimes.com/1946/12/10/archives/news-of-the-stage-playboy-of-the-western-world-to-end-broadway-run.html|access-date=January 31, 2022|issn=0362-4331}} Among the Booth's productions in 1947 were the Norman Krasna play John Loves Mary, which featured Tom Ewell, Nina Foch, and William Prince.{{harvnb|Bloom|2007|ps=|p=35}}; {{harvnb|Botto|Mitchell|2002|ps=|p=93}}; {{harvnb|Landmarks Preservation Commission|1987|p=37|ps=.}}{{Cite news|last=Calta|first=Louis|date=February 4, 1947|title=John Loves Mary' to Arrive Tonight; Norman Krasna Comedy Will Open at the Booth Theatre -- Nina Foch in Cast|language=en-US|work=The New York Times|url=https://www.nytimes.com/1947/02/04/archives/john-loves-mary-to-arrive-tonight-norman-krasna-comedy-will-open-at.html|access-date=January 31, 2022|issn=0362-4331}} The following year, Molnár's comedy The Play's the Thing was revived, featuring Louis Calhern and Faye Emerson.{{Cite news|last=Zolotow|first=Sam|date=April 28, 1948|title=' Play's the Thing' at Booth Tonight; Revival of Hit Last Seen Here 22 Years Ago Has Louis Calhern Heading Cast|language=en-US|work=The New York Times|url=https://www.nytimes.com/1948/04/28/archives/-plays-the-thing-at-booth-tonight-revival-of-hit-last-seen-here-22-.html|access-date=January 31, 2022|issn=0362-4331}} James B. Allardice's At War with the Army was presented in 1949 with Gary Merrill,{{Cite news|last=Atkinson|first=Brooks|date=March 9, 1949|title=At the Theatre; Yale Drama Student 'At War With the Army' in a Farce Put On at the Booth|language=en-US|work=The New York Times|url=https://www.nytimes.com/1949/03/09/archives/at-the-theatre-yale-drama-student-at-war-with-the-army-in-a-farce.html|access-date=January 31, 2022|issn=0362-4331}} and The Velvet Glove opened at the end of that year with Grace George and Walter Hampden.{{Cite news|last=Funke|first=Lewis|date=December 26, 1949|title=The Velvet Glove' Will Open Tonight; Comedy Arriving at the Booth Marks Return of Walter Hampden, Grace George|language=en-US|work=The New York Times|url=https://www.nytimes.com/1949/12/26/archives/the-velvet-glove-will-open-tonight-comedy-arriving-at-the-booth.html|access-date=January 31, 2022|issn=0362-4331}}
== 1950s to 1970s ==
William Inge's play Come Back, Little Sheba opened in 1950, featuring Shirley Booth and Sidney Blackmer;{{Cite news|last=Atkinson|first=Brooks|date=February 26, 1950|title=TWO ACTORS; Shirley Booth and Sidney Blackmer Play 'Come Back, Little Sheba'|language=en-US|work=The New York Times|url=https://www.nytimes.com/1950/02/26/archives/two-actors-shirley-booth-and-sidney-blackmer-play-come-back-little.html|access-date=January 31, 2022|issn=0362-4331}} it was Inge's first Broadway production.{{harvnb|Bloom|2007|ps=|p=35}}; {{harvnb|Botto|Mitchell|2002|ps=|p=93}}; {{harvnb|Landmarks Preservation Commission|1987|p=38|ps=.}}{{Cite news|last=Zolotow|first=Sam|date=February 15, 1950|title='Little Sheba' Set to Open at Booth; Theatre Guild's 4th Offering of Season Bows Tonight-- Booth, Blackmer Featured Rat Race" to Close Coward London-Bound|language=en-US|work=The New York Times|url=https://www.nytimes.com/1950/02/15/archives/little-shebaset-to-open-at-booth-theatre-guilds-4th-offering-of.html|access-date=January 31, 2022|issn=0362-4331}} Another hit was Beatrice Lillie's revue An Evening with Beatrice Lillie in 1952,{{Cite news|last=Atkinson|first=Brooks|date=October 3, 1952|title=At the Theatre|language=en-US|work=The New York Times|url=https://www.nytimes.com/1952/10/03/archives/at-the-theatre.html|access-date=January 31, 2022|issn=0362-4331}} which ran for 278 performances.{{Cite news|last=Shanley|first=J. P.|date=May 4, 1953|title=Camino Real' Ends Its Run Saturday; Williams' Much-Debated Play on Boards Since March 19 -- Lillie Show Off May 30|language=en-US|work=The New York Times|url=https://www.nytimes.com/1953/05/04/archives/camino-real-ends-its-run-saturday-williams-muchdebated-play-on.html|access-date=January 31, 2022|issn=0362-4331}} Afterward, the Booth hosted the world premiere of the film Caesar in 1953, the first non-legitimate production in t he theater's history.{{cite news|last=McCord|first=Bert|date=May 11, 1953|title='Caesar' Film's Premiere At Booth Theater June 3|page=10|work=New York Herald Tribune|id={{ProQuest|1322487589}}}}{{Cite news|last=Crowther|first=Bosley|date=June 14, 1953|title='Julius Caesar'; Shakespeare's Play Done Boldly on the Screen|language=en-US|work=The New York Times|url=https://www.nytimes.com/1953/06/14/archives/-julius-caesar-shakespeares-play-done-boldly-on-the-screen.html|access-date=January 31, 2022|issn=0362-4331}} The Booth's next success was a ten-month run of Jerome Chodorov's Anniversary Waltz with Macdonald Carey and Kitty Carlisle, which had relocated from the Broadhurst, starting in late 1954.{{harvnb|Botto|Mitchell|2002|ps=|p=93}}; {{harvnb|Landmarks Preservation Commission|1987|p=39|ps=.}}{{cite web|author=The Broadway League|date=April 7, 1954|title=Anniversary Waltz – Broadway Play – Original|url=https://www.ibdb.com/broadway-production/anniversary-waltz-2447|access-date=January 31, 2022|website=IBDB}}
{{Cite web|title=Anniversary Waltz (Broadway, Broadhurst Theatre, 1954)|url=https://playbill.com/production/anniversary-waltz-broadhurst-theatre-vault-0000002072|access-date=January 31, 2022|website=Playbill|language=en}} Ralph Berkey and Henry Denker's Korean War drama Time Limit opened in 1956 and ran for 127 performances.{{cite web|author=The Broadway League|date=January 24, 1956|title=Time Limit! – Broadway Play – Original|url=https://www.ibdb.com/broadway-production/time-limit-2398|access-date=January 31, 2022|website=IBDB}}
{{Cite web|title=Time Limit! (Broadway, Booth Theatre, 1956)|url=https://playbill.com/production/time-limit-booth-theatre-vault-0000001734|access-date=January 31, 2022|website=Playbill|language=en}} Gore Vidal's comedy Visit to a Small Planet opened the next February,{{Cite news|last=Atkinson|first=Brooks|date=February 8, 1957|title=The Theatre: 'Visit to a Small Planet'; Vidal's Foolish Notion Is Staged at Booth The Cast|language=en-US|work=The New York Times|url=https://www.nytimes.com/1957/02/08/archives/the-theatre-visit-to-a-small-planet-vidals-foolish-notion-is-staged.html|access-date=January 31, 2022|issn=0362-4331}}{{cite news|date=February 9, 1957|title='Visit to a Small Planet' May Be a Surprise Hit|page=6|work=New York Herald Tribune|id={{ProQuest|1337691681}}}} starring Cyril Ritchard and Eddie Mayehoff for a year.{{cite web|author=The Broadway League|date=February 7, 1957|title=A Visit to a Small Planet – Broadway Play – Original|url=https://www.ibdb.com/broadway-production/a-visit-to-a-small-planet-2611|access-date=January 31, 2022|website=IBDB}}
{{Cite web|title=A Visit to a Small Planet (Broadway, Booth Theatre, 1957)|url=https://playbill.com/production/a-visit-to-a-small-planet-booth-theatre-vault-0000001731|access-date=January 31, 2022|website=Playbill|language=en}} Subsequently, William Gibson's two-person play Two for the Seesaw opened in January 1958{{Cite news|last=Atkinson|first=Brooks|date=January 17, 1958|title=The Theatre: 'Two for the Seesaw'; Fonda, Anne Bancroft in Play at Booth|language=en-US|work=The New York Times|url=https://www.nytimes.com/1958/01/17/archives/the-theatre-two-for-the-seesaw-fonda-anne-bancroft-in-play-at-booth.html|access-date=January 31, 2022|issn=0362-4331}}{{cite news|date=January 16, 1958|title='2 for the Seesaw' Opens At the Booth Tonight|page=12|work=New York Herald Tribune|id={{ProQuest|1327138499}}}} and ran until late 1959.
Paddy Chayefsky's play The Tenth Man launched at the Booth in November 1959{{Cite news|last=Atkinson|first=Brooks|date=November 6, 1959|title=Theatre: Chayefsky's 'The Tenth Man'; Story of Exorcism of Dybbuk at Booth|language=en-US|work=The New York Times|url=https://www.nytimes.com/1959/11/06/archives/theatre-chayefskys-the-tenth-man-story-of-exorcism-of-dybbuk-at.html|access-date=January 31, 2022|issn=0362-4331}} and lasted for 623 performances over the next year. The play Julia, Jake and Uncle Joe with Claudette Colbert closed after its single performance in January 1961,{{Cite news|last=Calta|first=Louis|date=January 31, 1961|title=Anouilh Comedy Due Here Feb. 27; 'Rendezvous in Senlis' Will Open at Gramercy Arts -- 'Octoroon' Extended|language=en-US|work=The New York Times|url=https://www.nytimes.com/1961/01/31/archives/anouilh-comedy-due-here-feb-27-rendezvous-in-senlis-will-open-at.html|access-date=January 31, 2022|issn=0362-4331}} but the comedy A Shot in the Dark was more successful the same year, starring Julie Harris, Walter Matthau, Gene Saks, and William Shatner.{{harvnb|Bloom|2007|ps=|p=35}}; {{harvnb|Botto|Mitchell|2002|ps=|p=93}}; {{harvnb|Landmarks Preservation Commission|1987|p=40|ps=.}}{{Cite news|last=Taubman|first=Howard|date=October 19, 1961|title=Theatre: Paris Comedy; 'A Shot in Dark' Opens With Julie Harris|language=en-US|work=The New York Times|url=https://www.nytimes.com/1961/10/19/archives/theatre-paris-comedy-a-shot-in-dark-opens-with-julie-harris.html|access-date=January 31, 2022|issn=0362-4331}} A comedy by Murray Schisgal, Luv, opened in 1964 and featured Alan Arkin, Anne Jackson, and Eli Wallach;{{harvnb|Bloom|2007|ps=|p=35}}; {{harvnb|Botto|Mitchell|2002|ps=|pp=93–94}}; {{harvnb|Landmarks Preservation Commission|1987|p=20|ps=.}}{{Cite news|date=November 12, 1964|title=Theater: Schisgal's 'Luv' Is Directed by Nichols; New Comedy Opens at the Booth Theater; EliWallach,AlanArkin, Anne Jackson in Cast|language=en-US|work=The New York Times|url=https://www.nytimes.com/1964/11/12/archives/theater-schisgals-luv-is-directed-by-nichols-new-comedy-opens-at.html|access-date=January 31, 2022|issn=0362-4331}} it ran for about 900 performances.{{harvnb|Botto|Mitchell|2002|ps=|p=94}}; {{harvnb|Landmarks Preservation Commission|1987|p=40|ps=.}} The comedy duo Flanders and Swann performed their revue At the Drop of Another Hat at the Booth in 1966, following the success of At the Drop of a Hat.{{Cite news|last=Kerr|first=Walter|date=December 28, 1966|title=Theater: Put-Out Zanies; Flanders and Swann Drop Another Hat|language=en-US|work=The New York Times|url=https://www.nytimes.com/1966/12/28/archives/theater-putout-zanies-flanders-and-swann-drop-another-hat.html|access-date=January 31, 2022|issn=0362-4331}} The next year, Harold Pinter's play The Birthday Party was staged at the theater.{{Cite news|last=Barnes|first=Clive|date=October 4, 1967|title=The Theater: Pinter's 'Birthday Party'; First Full-Length Play by Briton Is at Booth|language=en-US|work=The New York Times|url=https://www.nytimes.com/1967/10/04/archives/the-theater-pinters-birthday-party-first-fulllength-play-by-briton.html|access-date=January 31, 2022|issn=0362-4331}} After several relatively short runs, the Booth hosted the Leonard Gershe play Butterflies Are Free,{{harvnb|Bloom|2007|ps=|p=35}}; {{harvnb|Botto|Mitchell|2002|ps=|p=94}}; {{harvnb|Landmarks Preservation Commission|1987|p=20|ps=.}}{{Cite news|last=Barnes|first=Clive|date=October 22, 1969|title=Stage: Wit and Sentiment; ' Butterflies Are Free' Opens at the Booth|language=en-US|work=The New York Times|url=https://www.nytimes.com/1969/10/22/archives/stage-wit-and-sentiment-butterflies-are-free-opens-at-the-booth.html|access-date=January 31, 2022|issn=0362-4331}} which had 1,128 performances through 1972.{{harvnb|Botto|Mitchell|2002|ps=|p=94}}; {{harvnb|Landmarks Preservation Commission|1987|p=41|ps=.}}
The Booth's first new production of the 1970s was Joseph Papp's version of Jason Miller's Pulitzer-winning play That Championship Season. The show moved from The Public Theater in September 1972{{Cite news|last=Barnes|first=Clive|date=September 15, 1972|title=Stage: 'That Championship Season'|language=en-US|work=The New York Times|url=https://www.nytimes.com/1972/09/15/archives/stage-that-championship-season-uptown-move-scores-first-hit-of.html|access-date=January 31, 2022|issn=0362-4331}}{{cite news|last=Martin|first=Gottfried|date=September 18, 1972|title=Arts & Pleasures A Daily Critique By WWD: The Theatre: That Championship Season|volume=125|pages=9|work=Women's Wear Daily|issue=53|id={{ProQuest|1523633355}}}} and ran for 844 performances over the next year and a half.{{Cite news|date=March 27, 1974|title='Championship' to Close|language=en-US|work=The New York Times|url=https://www.nytimes.com/1974/03/27/archives/championship-to-close.html|access-date=January 31, 2022|issn=0362-4331}} Subsequently, in 1974, the Booth hosted a transfer of Terrence McNally's off-Broadway play Bad Habits,{{Cite news|last=Gussow|first=Mel|date=May 6, 1974|title=Theater: Tonic Humor|language=en-US|work=The New York Times|url=https://www.nytimes.com/1974/05/06/archives/theater-tonic-humor-mcnallys-bad-habits-moves-to-the-booth.html|access-date=January 31, 2022|issn=0362-4331}} as well as the Schisgal play All Over Town.{{Cite news|last=Barnes|first=Clive|date=December 30, 1974|title=Stage: 'All Over Town' Proves a Zany Surprise|language=en-US|work=The New York Times|url=https://www.nytimes.com/1974/12/30/archives/stage-all-over-town-proves-a-zany-surprise.html|access-date=January 31, 2022|issn=0362-4331}} The next year, Papp announced that he would produce five plays at the Booth under the auspices of the New York Shakespeare Festival, offering tickets at low prices.{{Cite news|date=May 24, 1975|title=Papp Plans Plays at Booth Theater|language=en-US|work=The New York Times|url=https://www.nytimes.com/1975/05/24/archives/papp-plans-5-plays-at-booth-theater.html|access-date=January 31, 2022|issn=0362-4331}} Papp canceled the program due to a lack of money,{{Cite news|last=Calta|first=Louis|date=October 21, 1975|title=Papp Drops 5-Play Series at Booth|language=en-US|work=The New York Times|url=https://www.nytimes.com/1975/10/21/archives/papp-drops-5play-series-at-booth.html|access-date=January 31, 2022|issn=0362-4331}}{{Cite news|last=Nelsen|first=Don|date=October 21, 1975|title=Papp's Booth plans poof|pages=47|work=Daily News|url=https://www.newspapers.com/clip/93899619/papps-booth-plans-poofdon-nelsen/|access-date=January 31, 2022}} and only one production was staged, the short-lived The Leaf People.{{harvnb|Botto|Mitchell|2002|ps=|p=95}}; {{harvnb|Landmarks Preservation Commission|1987|p=41|ps=.}}{{cite web|author=The Broadway League|date=October 20, 1975|title=The Leaf People – Broadway Play – Original|url=https://www.ibdb.com/broadway-production/the-leaf-people-3758|access-date=January 31, 2022|website=IBDB}}
{{Cite web|title=The Leaf People (Broadway, Booth Theatre, 1975)|url=https://playbill.com/production/the-leaf-people-booth-theatre-vault-0000001698|access-date=January 31, 2022|website=Playbill|language=en}} This was followed by the Jerome Kern musical Very Good Eddie at the end of 1975.{{Cite news|last=Barnes|first=Clive|date=December 22, 1975|title=Theater: An Enchanting Old Musical|language=en-US|work=The New York Times|url=https://www.nytimes.com/1975/12/22/archives/theater-an-enchanting-old-musical-very-good-eddie-has-very-good.html|access-date=January 31, 2022|issn=0362-4331}} Another hit was For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf, which opened in 1976{{Cite news|last=Gussow|first=Mel|date=September 16, 1976|title=Stage: 'Colored Girls' Evolves|language=en-US|work=The New York Times|url=https://www.nytimes.com/1976/09/16/archives/stage-colored-girls-evolves-play-moves-to-broadway-to-be-seen-and.html|access-date=January 31, 2022|issn=0362-4331}} and ran for 742 performances over the next two years.{{harvnb|Botto|Mitchell|2002|ps=|p=94}}; {{harvnb|Landmarks Preservation Commission|1987|p=42|ps=.}}{{Cite news|date=July 15, 1978|title='For Colored Girls' Closes Tomorrow|language=en-US|work=The New York Times|url=https://www.nytimes.com/1978/07/15/archives/for-colored-girls-closes-tomorrow.html|access-date=January 31, 2022|issn=0362-4331}}
In 1979, the Shuberts hired Melanie Kahane to redesign the Booth Theatre.{{harvnb|Bloom|2007|ps=|p=35}}; {{harvnb|Botto|Mitchell|2002|ps=.|p=94}} The project involved restoring the Booth's original design within three weeks; at the time, Kahane characterized the theater as a "sad old sack".{{harvnb|Botto|Mitchell|2002|ps=.|p=94}} Kahane removed some design details such as French chandeliers, as she believed they were incompatible with the theater's design scheme. The auditorium was redecorated with a beige and brown color scheme. In addition, three former dressing rooms were converted into the One Shubert Alley store. The Booth ended the decade with a transfer of Bernard Pomerance's off-Broadway play The Elephant Man, which opened in 1979 and stayed for 916 performances.
== 1980s and 1990s ==
Bill C. Davis's play Mass Appeal transferred to the Booth from off-Broadway in 1981, starring Michael O'Keefe and Milo O'Shea.{{harvnb|Botto|Mitchell|2002|ps=|p=95}}; {{harvnb|Landmarks Preservation Commission|1987|p=42|ps=.}}{{Cite news|last=Rich|first=Frank|date=November 13, 1981|title=Theater: 'Mass Appeal' Comes to Broadway|language=en-US|work=The New York Times|url=https://www.nytimes.com/1981/11/13/theater/theater-mass-appeal-comes-to-broadway.html|access-date=January 31, 2022|issn=0362-4331}} The Royal Shakespeare Company presented the C. P. Taylor play Good with Alan Howard in 1982,{{Cite news|last=Rich|first=Frank|date=October 14, 1982|title=Theater: 'Good,' on Becoming a Nazi|language=en-US|work=The New York Times|url=https://www.nytimes.com/1982/10/14/theater/theater-good-on-becoming-a-nazi.html|access-date=January 31, 2022|issn=0362-4331}} and Larry Atlas's Total Abandon flopped the next year after its single performance.{{Cite news|date=April 30, 1983|title='Total Abandon' Closes|language=en-US|work=The New York Times|url=https://www.nytimes.com/1983/04/30/theater/total-abandon-closes.html|access-date=January 31, 2022|issn=0362-4331}}{{cite web|author=The Broadway League|date=April 28, 1983|title=Total Abandon – Broadway Play – Original|url=https://www.ibdb.com/broadway-production/total-abandon-4220|access-date=January 31, 2022|website=IBDB}}
{{Cite web|title=Total Abandon (Broadway, Booth Theatre, 1983)|url=https://playbill.com/production/total-abandon-booth-theatre-vault-0000001688|access-date=January 31, 2022|website=Playbill|language=en}} This was followed in 1984 by Stephen Sondheim and James Lapine's Pulitzer-winning musical Sunday in the Park With George with Mandy Patinkin and Bernadette Peters.{{Cite news|last=Rich|first=Frank|date=May 3, 1984|title=Stage: 'Sunday in the Park With George'|language=en-US|work=The New York Times|url=https://www.nytimes.com/1984/05/03/theater/stage-sunday-in-the-park-with-george.html|access-date=January 31, 2022|issn=0362-4331}} The Herb Gardner play I'm Not Rappaport relocated to the Booth from off-Broadway in November 1985,{{harvnb|Bloom|2007|ps=|p=35}}; {{harvnb|Botto|Mitchell|2002|ps=.|p=95}}{{Cite news|last1=Berry|first1=Warren|last2=Kubasik|first2=Ben|date=November 20, 1985|title=Inside New York|pages=6|work=Newsday|issn=2574-5298|url=https://www.newspapers.com/clip/93904940/inside-new-yorkwarren-berry-and-ben/|access-date=January 31, 2022}} staying for 890 performances until early 1988. The final hit of the decade was Shirley Valentine, which opened in 1989 and had 324 performances.{{Cite news|date=November 15, 1989|title='Shirley Valentine' to Close|language=en-US|work=The New York Times|url=https://www.nytimes.com/1989/11/15/theater/shirley-valentine-to-close.html|access-date=January 31, 2022|issn=0362-4331}}
The New York City Landmarks Preservation Commission (LPC) had started to consider protecting the Booth as an official city landmark in 1982,{{Cite news|last=Dunlap|first=David W.|date=October 20, 1982|title=Landmark Status Sought for Theaters|language=en-US|work=The New York Times|url=https://www.nytimes.com/1982/10/20/nyregion/landmark-status-sought-for-theaters.html|url-status=live|access-date=October 29, 2021|archive-url=https://web.archive.org/web/20211029222429/https://www.nytimes.com/1982/10/20/nyregion/landmark-status-sought-for-theaters.html|archive-date=October 29, 2021|issn=0362-4331}} with discussions continuing over the next several years.{{Cite news|last=Shepard|first=Joan|date=August 28, 1985|title=Is the final curtain near?|pages=462, [https://www.newspapers.com/clip/85456671/broadway/ 464]|work=New York Daily News|issn=2692-1251|url=https://www.newspapers.com/clip/85456704|url-status=live|access-date=September 16, 2021|archive-url=https://web.archive.org/web/20210921174705/https://www.newspapers.com/clip/85456704/is-the-final-curtain-near/|archive-date=September 21, 2021|via=newspapers.com}} The LPC designated both the Booth's facade and part of the Booth's interior as landmarks on November 4, 1987.{{cite magazine|date=November 11, 1987|title=Legitimate: Landmarks Panel Names 5 Theaters|volume=329|issue=3|pages=93|id={{ProQuest|1286133538}}|journal=Variety}}{{Cite news|last=Dunlap|first=David W.|date=November 5, 1987|title=5 More Broadway Theaters Classified as Landmarks|language=en-US|work=The New York Times|url=https://www.nytimes.com/1987/11/05/nyregion/5-more-broadway-theaters-classified-as-landmarks.html|url-status=live|access-date=October 29, 2021|archive-url=https://web.archive.org/web/20191214001646/https://www.nytimes.com/1987/11/05/nyregion/5-more-broadway-theaters-classified-as-landmarks.html|archive-date=December 14, 2019|issn=0362-4331}} This was part of the LPC's wide-ranging effort in 1987 to grant landmark status to Broadway theaters.{{Cite news|last=Dunlap|first=David W.|date=November 22, 1987|title=The Region; The City Casts Its Theaters In Stone|language=en-US|work=The New York Times|url=https://www.nytimes.com/1987/11/22/weekinreview/the-region-the-city-casts-its-theaters-in-stone.html|url-status=live|access-date=October 16, 2021|archive-url=https://web.archive.org/web/20211016164623/https://www.nytimes.com/1987/11/22/weekinreview/the-region-the-city-casts-its-theaters-in-stone.html|archive-date=October 16, 2021|issn=0362-4331}} The New York City Board of Estimate ratified the designations in March 1988.{{Cite news|last=Purdum|first=Todd S.|date=March 12, 1988|title=28 Theaters Are Approved as Landmarks|language=en-US|work=The New York Times|url=https://www.nytimes.com/1988/03/12/nyregion/28-theaters-are-approved-as-landmarks.html|access-date=November 20, 2021|issn=0362-4331}} The Shuberts, the Nederlanders, and Jujamcyn collectively sued the LPC in June 1988 to overturn the landmark designations of 22 theaters, including the Booth, on the merit that the designations severely limited the extent to which the theaters could be modified.{{Cite news|last=Dunlap|first=David W.|date=June 21, 1988|title=Owners File Suit to Revoke Theaters' Landmark Status|language=en-US|work=The New York Times|url=https://www.nytimes.com/1988/06/21/nyregion/owners-file-suit-to-revoke-theaters-landmark-status.html|url-status=live|access-date=October 29, 2021|archive-url=https://web.archive.org/web/20211029222433/https://www.nytimes.com/1988/06/21/nyregion/owners-file-suit-to-revoke-theaters-landmark-status.html|archive-date=October 29, 2021|issn=0362-4331}} The lawsuit was escalated to the New York Supreme Court and the Supreme Court of the United States, but these designations were ultimately upheld in 1992.{{Cite news|last=Dunlap|first=David W.|date=May 27, 1992|title=High Court Upholds Naming Of 22 Theaters as Landmarks|language=en-US|work=The New York Times|url=https://www.nytimes.com/1992/05/27/nyregion/high-court-upholds-naming-of-22-theaters-as-landmarks.html|url-status=live|access-date=October 29, 2021|archive-url=https://web.archive.org/web/20211030023526/https://www.nytimes.com/1992/05/27/nyregion/high-court-upholds-naming-of-22-theaters-as-landmarks.html|archive-date=October 30, 2021|issn=0362-4331}}
In October 1990, Lynn Ahrens and Stephen Flaherty's musical Once on This Island launched at the Booth,{{Cite news|last=Stuart|first=Jan|date=October 19, 1990|title='Island': Innocence and Simplicity|pages=177|work=Newsday|issn=2574-5298|url=https://www.newspapers.com/clip/93906328/island-innocence-and-simplicityjan/|access-date=January 31, 2022}}{{Cite news|last=Smith|first=Roberta|date=October 14, 1990|title=Theater; Behind the Painted World of 'Once On This Island'|language=en-US|work=The New York Times|url=https://www.nytimes.com/1990/10/14/theater/theater-behind-the-painted-world-of-once-on-this-island.html|access-date=January 31, 2022|issn=0362-4331}} running for 469 performances.{{Cite news|date=November 8, 1991|title='Island' to Close Dec. 1|language=en-US|work=The New York Times|url=https://www.nytimes.com/1991/11/08/theater/island-to-close-dec-1.html|access-date=January 31, 2022|issn=0362-4331}} This was followed in 1992 by Frank Loesser's The Most Happy Fella for 221 performances,{{cite web|author=The Broadway League|date=February 13, 1992|title=The Most Happy Fella – Broadway Musical – 1992 Revival|url=https://www.ibdb.com/broadway-production/the-most-happy-fella-4661|access-date=January 26, 2022|website=IBDB}}
{{Cite web|title=The Most Happy Fella (Broadway, Booth Theatre, 1992)|url=https://playbill.com/production/the-most-happy-fella-booth-theatre-vault-0000001680|access-date=January 26, 2022|website=Playbill|language=en}}{{Cite news|date=August 20, 1992|title='Most Happy Fella' to Close|language=en-US|work=The New York Times|url=https://www.nytimes.com/1992/08/20/theater/most-happy-fella-to-close.html|access-date=January 31, 2022|issn=0362-4331}} as well as Frank McGuinness's play Someone Who'll Watch Over Me for 216 performances.{{Cite news|date=June 8, 1993|title='Watch Over Me' to Close|language=en-US|work=The New York Times|url=https://www.nytimes.com/1993/06/08/theater/watch-over-me-to-close.html|access-date=January 31, 2022|issn=0362-4331}} Jonathan Tolins's play The Twilight of the Golds had a short run in late 1993,{{Cite news|last=Brantley|first=Ben|date=October 22, 1993|title=Review/Theater; Family Genetics With a Background of Wagner|language=en-US|work=The New York Times|url=https://www.nytimes.com/1993/10/22/theater/review-theater-family-genetics-with-a-background-of-wagner.html|access-date=January 31, 2022|issn=0362-4331}} as did Arthur Miller's Broken Glass in 1994.{{Cite news|last=Richards|first=David|date=April 25, 1994|title=Review/Theater: Broken Glass; A Paralysis Points to Spiritual and Social Ills|language=en-US|work=The New York Times|url=https://www.nytimes.com/1994/04/25/theater/review-theater-broken-glass-a-paralysis-points-to-spiritual-and-social-ills.html|access-date=January 31, 2022|issn=0362-4331}} At the end of 1994, the Booth hosted a limited run of A Tuna Christmas.{{Cite news|last=Richards|first=David|date=December 16, 1994|title=Theater Review; Christmas in a Quirky Texas Town Where 1+1=22|language=en-US|work=The New York Times|url=https://www.nytimes.com/1994/12/16/theater/theater-review-christmas-in-a-quirky-texas-town-where-1-1-22.html|access-date=January 31, 2022|issn=0362-4331}} The next year, the Booth hosted Emily Mann's production of Having Our Say,{{Cite news|last=le Sourd|first=Jacques|date=April 7, 1995|title='Having Our Say' Delany Sisters on Broadway|pages=27|work=The Daily Item|url=https://www.newspapers.com/clip/93908253/having-our-say-delany-sisters-on/|access-date=January 31, 2022}}{{Cite news|last=Canby|first=Vincent|date=April 7, 1995|title=Theater Review: Having Our Say; A Visit With Two Indomitable Sisters|language=en-US|work=The New York Times|url=https://www.nytimes.com/1995/04/07/theater/theater-review-having-our-say-a-visit-with-two-indomitable-sisters.html|access-date=January 31, 2022|issn=0362-4331}} which ran for 308 performances.{{cite web|author=The Broadway League|date=April 6, 1995|title=Having Our Say – Broadway Play – Original|url=https://www.ibdb.com/broadway-production/having-our-say-4293|access-date=January 31, 2022|website=IBDB}}
{{Cite web|title=Having Our Say (Broadway, Booth Theatre, 1995)|url=https://playbill.com/production/having-our-say-booth-theatre-vault-0000001675|access-date=January 31, 2022|website=Playbill|language=en}} The Booth next hosted two solo shows:{{harvnb|Botto|Mitchell|2002|ps=.|pp=97–98}} Love Thy Neighbor by Jackie Mason in 1996,{{Cite news|last=Van Gelder|date=March 25, 1996|title=Theater Review; Mason Hoists Favorite Victims For His Verbal Target Practice|language=en-US|work=The New York Times|url=https://www.nytimes.com/1996/03/25/theater/theater-review-mason-hoists-favorite-victims-for-his-verbal-target-practice.html|access-date=January 31, 2022|issn=0362-4331}}{{Cite news|last=le Sourd|first=Jacques|date=March 25, 1996|title=A new Jackie Mason returns with a winner|pages=15|work=The Journal News|url=https://www.newspapers.com/clip/93909126/a-new-jackie-mason-returns-with-a/|access-date=January 31, 2022}} as well as Defending the Caveman by Rob Becker (later replaced by Michael Chiklis).{{Cite news|date=June 13, 1997|title='Caveman' Is Closing|language=en-US|work=The New York Times|url=https://www.nytimes.com/1997/06/13/theater/caveman-is-closing.html|access-date=January 31, 2022|issn=0362-4331}}{{Cite news|last=Mandell|first=Jonathan|date=April 2, 1997|title=Enter the New Caveman|pages=74, [https://www.newspapers.com/clip/93909586/ 78]|work=Newsday|issn=2574-5298|url=https://www.newspapers.com/clip/93909537/enter-the-new-cavemanjonathan-mandell/|access-date=January 31, 2022}} David Mamet's set of three one-act plays, The Old Neighborhood, ran 197 performances at the Booth in late 1997 and early 1998.{{Cite news|date=May 5, 1998|title='Neighborhood' to Close|language=en-US|work=The New York Times|url=https://www.nytimes.com/1998/05/05/theater/neighborhood-to-close.html|access-date=January 31, 2022|issn=0362-4331}} The revue An Evening with Jerry Herman{{Cite news|date=August 18, 1998|title=Herman Revue to Close|language=en-US|work=The New York Times|url=https://www.nytimes.com/1998/08/18/arts/herman-revue-to-close.html|access-date=January 31, 2022|issn=0362-4331}} and Sandra Bernhard's stand-up routine I'm Still Here... Damn It! were staged in 1998,{{Cite news|last=Marks|first=Peter|date=November 6, 1998|title=Theater Review; Comedy Whose Barbs Just Won't Go Away|language=en-US|work=The New York Times|url=https://www.nytimes.com/1998/11/06/movies/theater-review-comedy-whose-barbs-just-won-t-go-away.html|access-date=January 31, 2022|issn=0362-4331}} followed by David Hare's Via Dolorosa{{Cite news|last=Brantley|first=Ben|date=March 19, 1999|title=Theater Review; Outsider in a Passionate Land|language=en-US|work=The New York Times|url=https://www.nytimes.com/1999/03/19/movies/theater-review-outsider-in-a-passionate-land.html|access-date=February 1, 2022|issn=0362-4331}} and Barry Humphries's Dame Edna: The Royal Tour in 1999.{{Cite news|last=leSourd|first=Jacques|date=October 18, 1999|title=For Dame Edna, a debut on Broadway is anything but a drag|pages=31, [https://www.newspapers.com/clip/93926861/ 34]|work=The Journal News|url=https://www.newspapers.com/clip/93926825/for-dame-edna-a-debut-on-broadway-is/|access-date=February 1, 2022}}{{Cite news|last=Decaro|first=Frank|date=October 3, 1999|title=THEATER; Dame Edna Speaks Her Mind, And Yours|language=en-US|work=The New York Times|url=https://www.nytimes.com/1999/10/03/theater/theater-dame-edna-speaks-her-mind-and-yours.html|access-date=February 1, 2022|issn=0362-4331}}
== 2000s to present ==
File:The Glass Menagerie at Booth Theatre (10540820846).jpg
Lily Tomlin performed her solo show The Search for Signs of Intelligent Life in the Universe in 2000,{{Cite news|last=Weber|first=Bruce|date=November 17, 2000|title=Theater Review; Yep, Still Struggling To Make Art of Soup|language=en-US|work=The New York Times|url=https://www.nytimes.com/2000/11/17/movies/theater-review-yep-still-struggling-to-make-art-of-soup.html|access-date=February 1, 2022|issn=0362-4331}} followed by another solo show in 2002, Bea Arthur's Bea Arthur on Broadway.{{Cite news|last=Brantley|first=Ben|date=February 18, 2002|title=Theater Review; Bea Arthur's Ceremony Lacking All Innocence|language=en-US|work=The New York Times|url=https://www.nytimes.com/2002/02/18/theater/theater-review-bea-arthur-s-ceremony-lacking-all-innocence.html|access-date=February 1, 2022|issn=0362-4331}} A 2002 revival of I'm Not Rappaport closed after 51 performances,{{Cite news|date=September 5, 2002|title='Rappaport' to Close|language=en-US|work=The New York Times|url=https://www.nytimes.com/2002/09/05/theater/rappaport-to-close.html|access-date=February 1, 2022|issn=0362-4331}} and Thornton Wilder's play Our Town was revived the same year.{{Cite news|last=Brantley|first=Ben|date=December 5, 2002|title=Theater Review; Life. Death. Life. Death. Yep, Grovers Corners.|language=en-US|work=The New York Times|url=https://www.nytimes.com/2002/12/05/theater/theater-review-life-death-life-death-yep-grovers-corners.html|access-date=February 1, 2022|issn=0362-4331}} The Retreat from Moscow opened in 2003 for a 148-performance run,{{Cite news|last=Brantley|first=Ben|date=October 24, 2003|title=Theater Review; Here Lies The Ruin Of a Love|language=en-US|work=The New York Times|url=https://www.nytimes.com/2003/10/24/movies/theater-review-here-lies-the-ruin-of-a-love.html|access-date=February 1, 2022|issn=0362-4331}} and Eve Ensler's solo The Good Body flopped after a month in 2004.{{cite web|date=October 17, 1917|title=At This Theatre: Booth Theatre|url=https://www.playbill.com/venue/view-more?venue=00000150-aacd-d8be-af71-ffef18970003|access-date=December 30, 2021|website=Playbill}}{{Cite news|last=McKinley|first=Jesse|date=December 9, 2004|title=Arts, Briefly; Broadway Bloodletting|language=en-US|work=The New York Times|url=https://www.nytimes.com/2004/12/09/theater/arts/arts-briefly-broadway-bloodletting.html|access-date=February 1, 2022|issn=0362-4331}} Next was the drama The Pillowman and a revival of Edward Albee's Seascape in 2005, then revivals of Faith Healer and Butley in 2006. Joan Didion's solo play The Year of Magical Thinking and Conor McPherson's drama The Seafarer both had runs of several months in 2007, and Laurence Fishburne also headed the solo drama Thurgood for over a hundred performances in 2008. By contrast, Horton Foote's Dividing the Estate ran for only one and a half months in late 2008,{{Cite news|last=Healy|first=Patrick|date=January 10, 2009|title='Dividing the Estate' to Survive in Hartford|language=en-US|work=The New York Times|url=https://www.nytimes.com/2009/01/10/theater/10esta.html|access-date=February 1, 2022|issn=0362-4331}} and the musical The Story of My Life had five performances in 2009.{{Cite news|last=McElroy|first=Steven|date=February 23, 2009|title=Short 'Story of My Life'|language=en-US|work=The New York Times|url=https://www.nytimes.com/2009/02/23/arts/23arts-SHORTSTORYOF_BRF.html|access-date=February 1, 2022|issn=0362-4331}}
The musical Next to Normal opened at the Booth in April 2009 and ran until January 2011.{{cite web|author=The Broadway League|date=April 15, 2009|title=Next To Normal – Broadway Musical – Original|url=https://www.ibdb.com/broadway-production/next-to-normal-483136|access-date=February 1, 2022|website=IBDB}}
{{Cite web|title=Next to Normal (Broadway, Booth Theatre, 2009)|url=https://playbill.com/production/next-to-normal-booth-theatre-vault-0000001652|access-date=February 1, 2022|website=Playbill|language=en}}{{Cite web|last=Healy|first=Patrick|date=November 10, 2010|title='Next to Normal' to Close on Jan. 16|url=https://artsbeat.blogs.nytimes.com/2010/11/10/next-to-normal-to-close-on-jan-16/|access-date=February 1, 2022|website=ArtsBeat|language=en-US}} After a seven-performance run of the play High at the theater in April 2011,{{Cite web|last=Itzkoff|first=Dave|date=April 20, 2011|title='High,' With Kathleen Turner, Will Close on Sunday|url=https://artsbeat.blogs.nytimes.com/2011/04/20/high-with-kathleen-turner-will-close-on-sunday/|access-date=February 1, 2022|website=ArtsBeat|language=en-US}} a longer run of Other Desert Cities premiered later that year.{{Cite news|last=Brantley|first=Ben|date=November 4, 2011|title=Painful Family Secrets Laid Bare|language=en-US|work=The New York Times|url=https://www.nytimes.com/2011/11/04/theater/reviews/other-desert-cities-at-booth-theater-review.html|access-date=February 1, 2022|issn=0362-4331}} Generally, the Booth hosted straight plays during the 2010s. These included Who's Afraid of Virginia Woolf? in 2012, I'll Eat You Last: A Chat with Sue Mengers and The Glass Menagerie in 2013, and The Velocity of Autumn and The Elephant Man in 2014. Hand to God was the most successful production during this time, opening in 2015 and running for 337 performances.{{Cite web|last=Paulson|first=Michael|date=September 9, 2015|title='Hand to God' Sets Broadway Closing Date|url=https://artsbeat.blogs.nytimes.com/2015/09/09/hand-to-god-sets-broadway-closing-date/|access-date=February 1, 2022|website=ArtsBeat|language=en-US}} Other plays at the Booth included Hughie, An Act of God, and Les Liaisons Dangereuses in 2016; Significant Other and Meteor Shower in 2017; and The Boys in the Band and American Son in 2018.
The Booth hosted Gary: A Sequel to Titus Andronicus during early 2019,{{Cite news|last=Green|first=Jesse|date=April 22, 2019|title=Review: Taylor Mac's 'Gary' Finds Hope and Humor on a Pile of Corpses|language=en-US|work=The New York Times|url=https://www.nytimes.com/2019/04/21/theater/gary-a-sequel-to-titus-andronicus-review.html|access-date=February 1, 2022|issn=0362-4331}} followed later the same year by a limited run of Freestyle Love Supreme.{{Cite news|last=Brantley|first=Ben|date=October 3, 2019|title='Freestyle Love Supreme' Review: Hip-Hop Saves the World|language=en-US|work=The New York Times|url=https://www.nytimes.com/2019/10/02/theater/freestyle-love-supreme-review.html|access-date=February 1, 2022|issn=0362-4331}} The theater closed on March 12, 2020, due to the COVID-19 pandemic in New York City.{{cite web|author=Moniuszko, Sara M|date=June 29, 2020|title=Broadway suspends performances through 2020 amid coronavirus, extends ticket refunds to 2021|website=USA Today|url=https://usatoday.com/amp/3278716001|url-status=dead|archive-url=https://web.archive.org/web/20200705142729/https://www.usatoday.com/amp/3278716001|archive-date=July 5, 2020|access-date=July 2, 2020}} A revival of Who's Afraid of Virginia Woolf?, which had only played previews at the Booth before the shutdown, was then canceled.{{cite web|date=March 21, 2020|title='Who's Afraid Of Virginia Woolf' Cancels Broadway Run|url=https://deadline.com/2020/03/whos-afraid-of-virginia-woolf-starring-laurie-metcalf-rupert-everett-cancels-broadway-run-1202889354/|access-date=February 1, 2022|work=Deadline}} The Booth reopened on October 7, 2021, with a limited run of Freestyle Love Supreme,{{Cite web|last=Harms|first=Talaura|date=October 7, 2021|title=Hip-Hop Improv Show Freestyle Love Supreme Returns to Broadway October 7|url=http://www.playbill.com/article/hip-hop-improv-show-freestyle-love-supreme-returns-to-broadway-october-7|access-date=October 23, 2021|website=Playbill|language=en}}{{Cite web|title=Mic Drop! See the Cast of Freestyle Love Supreme Return to Broadway|url=https://www.broadway.com/buzz/201397/mic-drop-see-the-cast-of-freestyle-love-supreme-return-to-broadway/|access-date=October 23, 2021|website=Broadway.com|language=en}} which closed after three months. A short-lived revival of For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf opened at the Booth in April 2022, followed by Kimberly Akimbo from November 2022 to April 2024. The play The Roommate opened at the Booth in September 2024 for a limited run. Afterward, the Booth hosted the play John Proctor is the Villain.
Notable productions
Productions are listed by the year of their first performance.
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Box office record
Bette Midler set a box-office record in I'll Eat You Last: A Chat with Sue Mengers with a gross of {{currency|865,144|US|linked=no}} in May 2013.{{cite magazine|url=http://www.ew.com/article/2013/05/06/broadway-box-office-bette-midler|title=Broadway box office: Despite Tony snub, Bette Midler sees a big boost in ticket sales|magazine=Entertainment Weekly|access-date=May 7, 2013|last=Geier|first=Thom|date=May 6, 2013}} The Elephant Man, starring Bradley Cooper, topped Midler's record by grossing {{currency|1,058,547|US|linked=no}} for an eight-performance week ending December 28, 2014.{{cite web|title=The Elephant Man, With Bradley Cooper, Breaks Box-Office Record|url=http://playbill.com/news/article/the-elephant-man-with-bradley-cooper-breaks-box-office-record-335575|date=November 17, 2014|work=Playbill|last1=Hetrick|first1=Adam|last2=Purcell|first2=Carey|access-date=February 5, 2022|archive-date=March 6, 2021|archive-url=https://web.archive.org/web/20210306224645/https://playbill.com/news/article/the-elephant-man-with-bradley-cooper-breaks-box-office-record-335575|url-status=dead}} The record {{as of|2023|lc=y}} is held by The Boys in the Band. The production grossed {{currency|1,152,649|US|linked=no}} over eight performances for the week ending August 12, 2018.{{Cite web|url=https://www.playbill.com/production/gross?production=0000015f-7d53-df08-a95f-fff7d4c20000|title=Production Gross|work=Playbill|access-date=February 5, 2022}}
See also
{{portal bar|Architecture|New York City|Theatre}}
References
= Notes =
{{Notelist}}
=Citations=
{{Reflist}}
=Sources=
- {{cite Routledge Broadway}}
- {{cite ATT Broadway}}
- {{Cite report|url=http://s-media.nyc.gov/agencies/lpc/lp/1321.pdf|title=Booth Theater|date=November 4, 1987|publisher=New York City Landmarks Preservation Commission|ref={{harvid|Landmarks Preservation Commission|1987}}}}
- {{Cite report|url=http://s-media.nyc.gov/agencies/lpc/lp/1322.pdf|title=Booth Theater Interior|date=November 4, 1987|publisher=New York City Landmarks Preservation Commission|ref={{harvid|Landmarks Preservation Commission Interior|1987}}}}
- {{Cite magazine|last=Chach|first=Maryann|date=2014|title=The Heart of Broadway Still Beats Strong at 100|url=https://shubertticketing.egnyte.com/dl/THtDBXDZ80|publisher=Shubert Organization|volume=30|pages=46–54|magazine=The Passing Show}}
- {{cite book|last=Morrison|first=William|title=Broadway Theatres: History and Architecture|publisher=Dover Publications|year=1999|isbn=0-486-40244-4|location=Mineola, NY}}
- {{cite magazine|date=1913|title=Shubert Theatre|url=https://babel.hathitrust.org/cgi/pt?id=uc1.d0002613669|magazine=American Architect and Architecture|volume=104|ref={{harvid|American Architect and Architecture|1913}}}}
- {{Cite book|last=Stagg|first=Jerry|url=https://www.worldcat.org/oclc/448983|title=The brothers Shubert|date=1968|publisher=Random House |isbn=978-0-394-41792-9|language=English|oclc=448983}}
Further reading
- {{cite book|last=Henderson|first=Mary C.|url=https://books.google.com/books?id=BlpWAAAAMAAJ|title=The City and the Theatre: The History of New York Playhouses : a 250 Year Journey from Bowling Green to Times Square|publisher=Back Stage Books|year=2004|isbn=978-0-8230-0637-3|ref=none}}
External links
{{Commons category|Booth Theatre}}
- {{Official website|https://shubert.nyc/theatres/booth}}
- {{IBDB venue|id=1071|name=Booth Theatre}}
{{Broadway theatres}}
{{Times Square}}
Category:1913 establishments in New York City
Category:1910s architecture in the United States
Category:New York City Designated Landmarks in Manhattan
Category:New York City interior landmarks