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Fulton Theatre

1946

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Dramatists Play Service, NY, 1973

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If Publisher (above) is underlined then the play may be purchased by direct click, otherwise
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Play/Drama

8

5

-

-

The play takes place in the 1880s. Marcus Hubbard, rich, despotic and despised, made a fortune during the Civil War by running the blockade - and worse. In his family life he is equally injurious: one son he bulldozes while the other he holds in contempt for his frailty. By Marcus's side stands his mentally deranged wife and, finally, Regina, the adored daughter - amoral, conniving, and beautiful as an evil flower. Marcus, it would seem, has been on the top of the heap long enough and someone must depose him. Turning the tables on a tyrant has always made for high drama, and when Hellman puts her brilliant talents to work on such a theme the result is a play of great theatrical intensity.

Coronet Theatre, New York

1951

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Little Brown, Boston, 1951

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Play/Drama

5

7

-

-

The premise of the play is contemplating the meaning of middle age to an assorted group of people gathered together in a summer home. All of them are, in one way or another, frustrated and unhappy. Most of them are under the illusion that some day the things from which they suffer will be removed and they will be once more at peace. But when they come to see themselves, they realise that man is the sum of his past life, that they are incapable of any real revolt against their past and that what they have made of themselves in earlier years is what they are when age approaches. And yet they are not tragic figures. All of them are troubled average people, human, commonplace: but they are studied with great understanding and a touch of intelligently unsentimental compassion.

Martin Beck Theatre, NY

1956

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Collected Plays, Little Brown; Broadway,

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Musical

-

0

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Music by Leonard Bernstein; Book by Lillian Hellman; Lyrics by Richard Wilbur, John La Touche and Dorothy Parker; Based on the novel "Candide" by Voltaire

Setting: Westphalia. Lisbon. Paris. Buenos Aires. Venice

Maxine Elliott's Theatre, New York

1934

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Dramatists Play Service, NY,

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If Publisher (above) is underlined then the play may be purchased by direct click, otherwise
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Play/Drama

2

12

-

-

The bigger the lie the more it will be believed

Vanderbilt Theatre, New York

1936

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Collected Plays, Little Brown; Broadway,

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If Publisher (above) is underlined then the play may be purchased by direct click, otherwise
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Play/Drama

7

4

-

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The result of a strike on a small mid-Western town.

Longacre Theatre, NY

1955

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in "Hellman, Lillian, Collected Plays" Macmillan, London, 1972

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Adaptation

15

4

extras

Original Playwright - Jean Anouilh; Incidental music by Leonard Bernstein

Chapman, writing in the New York News called The Lark: "a beautiful, beautiful play. . .It is always the story of a simple girl who became an inspired warrior and then was tried by the church-but there have been several ways of telling it. Anouilh's way, and Miss Hellman's, is to try to tell the story from two viewpoints. One of them is how we look at the tale now as a piece of history, with our knowledge of how the girl's blundering captors unwittingly created a martyr who became forever a symbol of courage and faith. The other viewpoint has been to try to imagine what it must have been like to be Joan herself. Both approaches to this legend of the Martyr of Rouen have been splendidly realized by the technique of divorcing the drama from the confinements of time, sequence and space. Until the last moment-a thrilling and uplifting one of Joan's greatest earthly triumph, the coronation of the worthless Dauphin for whom she fought-there is no scenery in the usual sense, merely a few levels of steps and platforms.

National Theatre, New York

1939

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in "Barlow, Judith E. (Ed.), Plays By American Women, 1930-1960" Applause Books, 1998

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Play/Drama

6

4

-

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Regina had married husband Horace for financial support when her father left all the family money to her brothers Benjamin and Oscar. Benjamin and Oscar want extra finance to open a cotton mill and they turn to their sister - she cannot help them. It is suggested that Oscar's son marries Regina's daughter - but neither Regina or her daughter want that. Regina asks Horace for the money - he refuses. So Benjamin who works in the bank steals Horace's bonds.

Fulton Theatre

1949

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in "Hellman, Lillian, Collected Plays" Macmillan, London, 1972

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Adaptation

15

2

-

Based on a play by Emmanuel Robles

New York

1963

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Random House, New York, 1963

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Satire

14

14

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from Burt Blechman's novel How Much?

Three generations clash in Manhattan apartment and aged mother is put in nursing home.

46th Street Theatre, New York

1949

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-

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I don't think the play has been published but you could try abebooks.com
or the playwright direct where their email is shown at the top of the page

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Musical

-

-

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Music by Marc Blitzstein; lyrics by Marc Blitzstein; book by Marc Blitzstein and Lillian Hellman. Based on the play "Little Foxes" by Lillian Hellman

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Fulton Theatre

1944

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Dramatists Play Service, NY,

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If Publisher (above) is underlined then the play may be purchased by direct click, otherwise
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-

Play/Drama

11

3

-

-

As in no other play the author here dramatizes most effectively the spirit of compromise and bewilderment, both in politics and human relations, that brought about the present world catastrophe

New York

1960

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Random House, New York, 1960

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Play/Drama

4

4

extras

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Two sisters are almost disappointed when over indulged brother becomes rich and independent

Martin Beck Theatre, New York

1941

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Dramatists Play Service, NY,

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If Publisher (above) is underlined then the play may be purchased by direct click, otherwise
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-

Play/Drama

6

5

2b

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Concerns an idealistic German who, with his American wife and two children, flees Hitler's Germany and finds sanctuary with his wife's family in the United States. He hopes for a respite from the dangerous work in which he has been involved, but his desire for personal safety soon comes into conflict with the deeply held beliefs that have made him an active anti-Nazi. In the end his conscience cannot be compromised, and he returns to Germany and the resistance movementand to what will be, most certainly, his ultimate destruction. Told in compelling, human terms, the play is an eloquent and stirring tribute to the brave men and women who, despite all odds, struggled early on to stem the tide of fascism which was soon to spread throughout Europe and the world.