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Among his credits were Broadway shows, operas and the original production of “Hair.” He also influenced numerous actors’ careers as an educator.
Though known from his TV role, he did much of his work on the stage, starting as an original Acting Company member.
Mr. McNally, who died of coronavirus complications, introduced audiences to characters and situations that most mainstream theater had previously shunted into comic asides.
A scholar and historian, he amassed an invaluable trove of interviews and other material with his wife, the filmmaker Camille Billops.
When it opened in 1968, the play broke new ground in its depiction of gay characters.
He provided the administrative know-how that got the theater troupe off the ground in 1967. That he was white drew some criticism.
Her signature performances included the title role in “The Prime of Miss Jean Brodie” and Maria Callas in “Master Class.”
While at the Royal Shakespeare Company, he took several shows to Broadway. One didn’t go so well.
In a wide-ranging career, he was also the voice of Mark Twain for a Ken Burns film and of an “Outer Limits” reboot.
In an era when few if any producers were women, she got access to the Kremlin, China and more.
In an era when big-budget theater was an increasingly corporate affair, Ms. Lion was a proudly independent producer.
His Broadway work won him four Tony Awards. A different audience knew another of his designs: the Parliament-Funkadelic Mothership.
His family perished in the Holocaust. He survived and came to the United States, where he worked with Ben Gazzara, George Peppard, Samuel Beckett and Arthur Miller.
He won theater’s top prize for his performance in “The Invention of Love,” one of numerous Broadway roles.
The busy character actor was also known for “Benson,” “Boston Legal” and several Broadway roles.
In addition to his acclaimed turn as Roy Cohn on Broadway, he was known for his work in “Norma Rae,” “Slaughterhouse-Five” and other films.
He directed numerous productions of Wilson plays, including two on Broadway, but some of his best work was done in regional theaters.
His “Same Time, Next Year” ran for years on Broadway, was made into a movie and is often described as one of the most-produced plays in the world.
The work, featuring a central character who is deaf, won the Tony Award for best play in 1980 and was turned into an Oscar-winning 1986 movie.
After gaining fame as the blustery newsman Ted Baxter’s love interest, Ms. Engel went on to “Everybody Loves Raymond” and more.
His DRG label specialized in the American songbook, cast albums and artists like Barbara Cook.
Before she found fame on two long-running television series, Ms. Helmond was a well-regarded stage actress.
A founder of the Free Southern Theater in 1963, he was as eager to hear his audiences’ stories as he was to perform.
Best known for the 1960s sitcom “The Mothers-in-Law,” she also had memorable turns in Broadway musicals and rode the nightclub circuit for years.
When she led the orchestra for “The Music Man” in 1960, she became the first woman to be hired as a full-time conductor for a Broadway show.
His work in opera, theater and ballet cast aside traditional ideas of what sets should be — realistic and utilitarian — in favor of abstract designs that made a statement.
He became a core member of the Spanish-language troupe Repertorio Español after leaving Cuba, where he had spent time in a forced-labor camp.
An “accidental actor,” he found himself on Broadway almost immediately after his career began and went on appear frequently onstage.
His plays, produced frequently in the 1970s, ’80s and ’90s, often threw polar opposites together to explore themes both comic and serious.
His cartoon show, loved by the 12-and-under crowd and by many much older fans as well, spawned two movies and a Tony-nominated Broadway musical.
Mr. Rain was a regular on the stage at the Stratford Festival for decades, but he was perhaps best known as HAL 9000 in “2001: A Space Odyssey.”