Manhattan Theatre Club

The Manhattan Theatre Club (MTC), which has evolved from a small Off-Broadway company into a major theatrical organization, was founded in 1970 by Albert E. Jeffcoat, Margaret Kennedy, Philip Barber and A. Joseph Tandet with the goal of reinvigorating the New York theater scene.

Inspired by work of the Arts Theatre Club of London and the Theatre Guild, the company produced and nurtured numerous American playwrights from 1970-1972 in its original site at the National Bohemian Hall at 321 East 73rd Street. This location was comprised of three separate venues: the Cabaret, complete with stage, tables, and licensed bar; Stage 79, a three-quarter-round tiered amphitheatre; and Stage 73, a 174-seat Off-Broadway house (1972-1973 Fact Sheet). In 1972, Lynne Meadow, a young director who had directed one production for the company, was hired as Artistic Director. In 1975, Barry Grove was hired as Managing Director. Due to their working relationship, one of the most long-standing in the non-profit community, the Manhattan Theatre Club developed a reputation for the high quality of its productions and attracted a large subscriber base. In order to expand, the organization moved to City Center in early 1985, but after several years in that facility, subscriber and single ticket sales demands necessitated MTC's need to expand once again. In 2003, the MTC moved its operations to the Biltmore Theatre, a former commercial Broadway house, which was renovated to meet its needs. Among the MTC's most acclaimed productions are: the Tony Award-winning revue, Ain't Misbehavin (1978), based on the music of Fats Waller, and four Pulitzer Prize-winning original dramas, Beth Henley's Crimes of the Heart (1981), August Wilson's The Piano Lesson (1990), David Auburn's Proof (2001), and John Patrick Shanley's Doubt (2005).

From the description of Manhattan Theatre Club records 1964-2004 (bulk 1970-1994) (New York Public Library). WorldCat record id: 84647356

In 1970, "a small group of business and professional people concerned about the lack of serious theater in what was a rather barren New York theater scene" created the Manhattan Theatre Club (Jeffcoat, 1). Inspired by the Arts Theatre Club of London and the Theatre Guild, the objectives set forth by the founding board members (Albert E. Jeffcoat, Margaret Kennedy, Philip Barber and A. Joseph Tandet), and prevalent in its current existence, are: "the close identification of the subscriber audience with the institution-through subscriptions and through the mixing of artists and audiences in social settings; the diversity of entertainment that is required to keep such an audience year after year; and the effort to help breed serious American Theater by providing a non-commercial home for the development of new work and new talent" (Jeffcoat, 4).

Overcoming its need to develop successful fundraising endeavors and hire an artistic director appropriate for its organization--Philip Barber, Nikos Psacharopoulos and Robert Sinkinger were consecutively hired for this position--the Manhattan Theatre Club (MTC) from 1970-1972 produced and nurtured numerous American playwrights at its five-story building (of which it occupied three floors) located at the National Bohemian Hall at 321 East 73rd Street. This location was comprised of three separate theatres: the Cabaret, complete with stage, tables, and licensed bar; Stage 79, a three-quarter-round tiered amphitheatre; and Stage 73, a 174-seat off-Broadway house (1972-1973 Fact Sheet).

In July of 1972, at the age of 25, Lynne Meadow (née Carolyn Meadow; married name Carolyn Meadow Schechtman), directed Anthony Scully's play All Through the House . From this experience, an initial three month contract as the new Artistic Director for MTC was offered. Lynne Meadow (graduate of Bryn Mawr and Yale School of Drama student from 1968-1970) accepted the leadership position in September 1972. On June 23, 1975, Barry Grove (Herbert F. Grove II), former general manager for the New Repertory Project at the University of Rhode Island and a graduate of Dartmouth College with high distinction in theater, joined MTC as Managing Director.

By the end of the 1983-1984 season (the final year on 73rd street), in an effort to expand production facilities and earned income, a long range plan was formulated to expand the physical plant. These efforts dissolved into protracted litigation with the Bohemian Benevolent and Literary Association of the City of NY (the owners of the National Bohemian Hall), the unavoidable eradication of the cash reserve and MTC's first budgetary debt. Negotiations to move MTC to City Center started in Oct 1984, and were fully realized in early 1985 [see Bohemian Benevolent and Literary Association of the City of NY files in box 193-198]. Subscriber and single ticket sales demands necessitated MTC's need to expand once again. The Biltmore Theatre, a Broadway house, on 261 W. 47th St, although in need of major renovations, suited the needs of the organization. Manhattan Theatre Club opened at this site in October 2003.

Meadow and Grove's reliance on MTC officers, early recognition of talent, and strong desire to foster artist growth shaped the organization; Jonathan Alper, who started as Literary Manager (ca 1980) and soon after was promoted to Artistic Associate (1984-1991), had a very strong impact on the organization's artistic direction. MTC created long term associations with numerous playwrights-e.g. John Patrick Shanley, Alan Ayckbourn, Athol Fugard, A.R. Gurney, Stephen Metcalfe, Beth Henley, Terrence McNally, Donald Margulies, Richard Wesley, Richard Greenberg, and Richard Maltby Jr.

MTC's many tributes include fifteen Tony Awards (e.g. Ain't Misbehavin' and Proof ), four Pulitzer Prizes (i.e. Crimes of the Heart, The Piano Lesson, Proof and Doubt ), 45 Obies (e.g. Children, Bad Habits, Mensch Meier and Frankie and Johnny in the Claire de Lune ) and 25 Drama Desk Awards (e.g. Lips Together Teeth Apart, Italian American Reconciliation and Love! Valour! Compassion! ), as well as numerous Drama Critics Circle (e.g. Aristocrats and Mass Appeal ), Outer Critics Circle (e.g. Loot and After Play ) and Theatre World Awards (e.g. Eleemosynary and What the Butler Saw ). In addition, the Manhattan Theatre Club has won the Lucille Lortel Award for Outstanding Achievement, a Drama Desk for Outstanding Excellence, and a Theatre World for Outstanding Achievement. It is under "the dynamic leadership of Artistic Director Lynne Meadow and Executive Producer Barry Grove" that the Manhattan Theatre Club "has grown in three decades from a prolific Off-Off Broadway showcase into one of the country's most acclaimed theatre organizations" ("About Us" page on the Manhattan Theatre Club website.)

From the guide to the Manhattan Theatre Club records, 1964-2004, 1970-1994, (The New York Public Library. Billy Rose Theatre Division.)