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He was especially acclaimed for his performances at the Bayreuth Festival in Germany. As his voice developed, he once said, so did his view of how and why to deploy it.
He clanged coconuts in the Monty Python stage musical in 2005; seven years later, he won a Tony for “Nice Work if You Can Get It.”
She worked on “Sweeney Todd” and “Candide” and also on the early seasons of “Saturday Night Live,” contributing to the look of the Blues Brothers and the Killer Bees.
She mixed insight and absurdity in a vast body of work that also included “Painting Churches” and “Pride’s Crossing,” both of which were Pulitzer finalists.
She had success on Broadway in “110 in the Shade” and other shows, but a later generation knew her from a sitcom.
He wrote the book and lyrics to a little show that opened in 1960 in Greenwich Village and became “the longest-running musical in the universe.”
He is credited with stabilizing that venerable British troupe while energizing it with ambitious projects including “Matilda the Musical.”
After putting her career on hold to raise children, she won the part of the madam in “The Best Little Whorehouse in Texas” — and then a statuette hailing her performance.
His play “Do Lord Remember Me,” constructed from interviews with formerly enslaved people in the 1930s, was first staged in 1978 and has been revived multiple times since.
The theatrical games and performance techniques Mr. Johnstone developed became a familiar part of the acting arsenal.
He befriended Rudolf Nureyev in 1961 while the Kirov Ballet was in Paris and witnessed his headline-making defection at the height of the Cold War.
As founding artistic director, he made Trinity Rep in Rhode Island a leader in theatrical innovation. He then made his mark in Dallas as well.
He won Tony Awards for “Wicked” and other shows while also overseeing the sets for the late-night franchise’s fast-paced sketch comedy.
He took over the Ridiculous Theatrical Company after the death of his partner, Charles Ludlam, in 1987. His specialty was playing women, but his range was wide.
He brought his adaptation of “The Grapes of Wrath” to Broadway and won Tony Awards. He also directed the long-running hit “Ragtime.”
She had success with a play about abortion in 2001, and in 2015 wrote the libretto for the opera “Charlie Parker’s Yardbird.”
She taught for decades at the Fieldston School and founded a free summer dance program open to all students in New York.
For decades he wrote about theater in The Village Voice, but he also was a dramaturge and a Tony-nominated translator.
He came from a wealthy family, but he championed the ideas of the counterculture. Journalists called him “the hippie millionaire.”
His one-man Off Broadway show, “Everything’s Fine,” directed by John Lithgow, had opened just weeks ago.
He started playing in Broadway orchestras in 1957, and eventually he began recruiting those orchestras as well.
She and her sister Carly Simon were a folk duo in the 1960s. Years later, she wrote the Tony-nominated music for “The Secret Garden.”
Downtown, he was known for sprawling works and vivid performances, but later in his career he drew praise as an actor in mainstream productions, too.
Playing the wooden flute and performing hoop dances, he sought to introduce audiences throughout the nation to Native American traditions.
For two decades, his Chelsea Theater Center was on the cutting edge with productions that could be challenging, baffling or, sometimes, Broadway bound.
He was the second Black playwright to win the award and later adapted the play into an Oscar-nominated film, “A Soldier’s Story.”
In 1960 she originated the lone female role in an Off Broadway show that became part of theater history thanks to a record-setting run.
Her company, Ballet Hispánico, performed for audiences across the United States and beyond. It also trained countless dancers.
A veteran actor, he was also a founder of Theater for the New City and Theater Three Collaborative, Manhattan groups known for experimental productions.
His well-honed comic timing, and the mimicry skills he had developed in nightclubs, served him well on one of the sillier sitcoms of the 1960s.
He collaborated on operas with Jack Beeson and Ned Rorem and published numerous poetry books. Late in life, he was victimized by theft.