Harold Prince

 ( 1928 Births ) 

He received a Tony Award for producing Fiddler on the Roof (1965) and almost gave up musical theatre before his Tony winning success directing and producing with Kander and Ebb's Cabaret in 1966, followed by Kander and Ebb's Zorba (Tony nomination, 1969). 1970 marked the start of his greatest creative collaboration, with composer/lyricist Stephen Sondheim. They had previously worked on West Side Story and their association spawned a long string of landmark productions, including Company (Tony Award, 1970), Follies (Tony Award, 1971), A Little Night Music (Tony Award, 1973), Pacific Overtures (Tony nomination, 1976), Side by Side by Sondheim (Tony nomination, 1977), and (Tony Award, 1979). Following Merrily We Roll Along (1981), which ran for 16 performances, they parted ways until Bounce in 2003.

He received a Tony nomination for directing On the Twentieth Century (1978) and won twice for the Andrew Lloyd Webber musicals Evita (1980) and The Phantom of the Opera (1988). Between them, Prince was offered the job of directing Cats by Lloyd Webber but turned it down and directed A Doll's Life (1982) with lyricists Betty Comden and Adolph Green. The musical continued the story of Nora Helmer past what Henrik Ibsen had written in A Doll's House. It ran for five performances; The New York Times wrote, "It was overproduced and overpopulated to the extent that the tiny resolute figure of Nora became lost in the combined mechanics of Broadway and the Industrial Revolution." Broadway wags dubbed the show either "A Doll's Death" or, due to the omnipresent portal out of which Nora slammed in the prologue, "A Door's Life."

Prince's other commercially unsuccessful musicals included Grind (Tony nomination, 1985), which closed after 71 performances, Grind ibdb.com. Retrieved July 31, 2019 and Roza (1987). However, his production of The Phantom of the Opera eventually became the longest-running show in Broadway history. Prince ultimately stopped producing because he "became more interested in directing". Kiss of the Spider Woman, which he directed in 1993, received the Tony Award for Best Musical. In 1994, Prince became a Kennedy Center Honoree. He received a 1995 Tony Award for directing Show Boat, and was nominated again for 1999's Parade.

In 2000, he was awarded the National Medal of Arts. In 2006, Prince was awarded a Special Tony Award for Lifetime Achievement in the Theatre. In 2007, he directed his last original musical on Broadway, LoveMusik, and on May 20 of that year, he gave the commencement address at Gettysburg College in Gettysburg, Pennsylvania. He was presented with the American Academy of Achievement's Golden Plate Award by awards council member and author Toni Morrison at a 2007 ceremony in Washington, D.C. In 2008 Prince was the keynote speaker at Elon University's Convocation for Honors celebration. "Announcing Our 2007–2008 Season" The Marquee, Summer, 2007, accessed July 31, 2019.

Prince co-directed, with Susan Stroman, the 2010 musical Paradise Found. The musical features the music of Johann Strauss II as adapted by Jonathan Tunick with lyrics by Ellen Fitzhugh. The book was written by Richard Nelson, based on Joseph Roth's novel The Tale of the 1002nd Night. The musical premiered at the Menier Chocolate Factory in London on May 19, 2010 and closed on June 26, and starred Mandy Patinkin.

A retrospective of Prince's work titled Prince of Broadway was co-directed by Prince and Susan Stroman and presented by Umeda Arts Theater in Tokyo, Japan in October 2015. The book was written by David Thompson with additional material and orchestrations by Jason Robert Brown. Prince was slated to direct The Band's Visit in 2016 but withdrew due to scheduling conflicts. Prince of Broadway opened in August 2017 at the Samuel J. Friedman Theatre in New YorkClement, Olivia (December 7, 2016). " 'Prince of Broadway' Will Open on Broadway This Summer". Playbill. with a cast featuring Chuck Cooper, Janet Dacal, Bryonha Marie Parham, Emily Skinner, Brandon Uranowitz, Kaley Ann Voorhees, Michael Xavier, Tony Yazbeck, and Karen Ziemba.

In addition to musicals, Prince also directed operas including Josef Tal's Ashmedai, Carlisle Floyd's Willie Stark, Puccini's Madama Butterfly, and a revival of Bernstein's Candide (Tony Award, 1974). In 1983 Prince staged Turandot for the Vienna State Opera (conductor: Lorin Maazel; with José Carreras and Éva Marton).

According to Masterworks Broadway, "besides his achievements as a producer and director, Prince is also known for bringing innovation to the theatrical arts. In collaboration with Stephen Sondheim, he was a pioneer in the development of the 'concept musical,' taking its departure from an idea or theme rather than from a traditional story. Their first project of this kind, Company (1970), was a solid success and paved the way for other innovative musicals."

According to The New York Times, "He was known, too, for his collaborations with a murderer's row of creative talents, among them the choreographers Bob Fosse, Jerome Robbins, Michael Bennett and Susan Stroman; the designers Boris Aronson, Eugene Lee, Patricia Zipprodt and Florence Klotz; and the composers Leonard Bernstein, John Kander, Stephen Sondheim and Andrew Lloyd Webber."

The Harold Prince Theatre at the Annenberg Center of the University of Pennsylvania is named in his honor.

A documentary titled Harold Prince: The Director's Life was directed by Lonny Price and broadcast on PBS Great Performances in November 2018.

In 2019, The New York Public Library for the Performing Arts presented an extensive exhibit honoring the life and work of Harold Prince. Prince served as a trustee for the library and on the National Council of the Arts of the National Endowment for the Arts. At the behest of Lotte Lenya, whom he cast in Cabaret (1966), Prince also served on the Board of Trustees of The Kurt Weill Foundation for Music and as a judge of their Lotte Lenya Competition.

Andrew Lloyd Webber said: "There isn't anybody working on musical theater on either side of the Atlantic who doesn't owe an enormous debt to this extraordinary man....Hal was very minimalist with his sets. People think of Phantom as this great big spectacle. That's an illusion. Hal always looked at the show as this big black box in which the stage craft enabled you to believe there was this impressive scenery all around you."

Jason Robert Brown said: "More than anything else, when I think about Hal, I think about his belief in theater. He believed in what it could do....He thought a lot about the world and the political systems and emotional support systems in it. He was very much a political artist."