August Wilson Theatre

The August Wilson Theatre is on 245 West 52nd Street, on the north sidewalk between Eighth Avenue and Broadway, in the Midtown Manhattan neighborhood of New York City, New York, U.S. The rectangular land lot covers , with a frontage of on 52nd Street and a depth of . The August Wilson shares the block with the ARO skyscraper to the northwest and Broadway Theatre to the northeast. Other nearby buildings include Studio 54 to the north, the New York Jazz Museum and the Ed Sullivan Theater to the northeast, 810 Seventh Avenue to the east, the Mark Hellinger Theatre and Gallagher's Steakhouse to the southeast, and the Neil Simon Theatre to the south. ==Design==

The August Wilson Theatre (previously the Guild Theatre, ANTA Theatre, and Virginia Theatre It was constructed in 1924 for the Theatre Guild, a theatrical society. Set designer Norman Bel Geddes was also involved in the August Wilson's interior design. The theater was erected by the O'Day Construction Company, and numerous other contractors participated in the theater's construction. Facade The facade of the August Wilson Theatre was designed to resemble a 15th-century Tuscan villa, with a stucco surface and a heavy use of quoins around openings. On 52nd Street, the theater's height is shorter than its width. The extreme west and east ends of the facade contain vertical bands of quoins, while the rest of the facade includes stone-trimmed windows and doors. The placement of window openings reflected the theater's original interior arrangement. Architectural Forum described the openings as "picturesquely grouped in an informal manner to give quaintness and charm to the exterior design". The western part of the ground story contains three doorways for the stage house. The rightmost doorway is an arch with rusticated limestone voussoirs; the arch's keystone is a cartouche with motifs signifying the arts, music, and tragedy. Within the archway are two steps leading up to a wood-and-glass double door, topped by a lunette window. To the east are wide metal doors that serve as emergency exits followed by narrow wood-and-glass doors that connect with the lobby. The lobby doors are flanked by sign boards, surrounded by large molded frames with console brackets below and cornices above. A single, modern marquee spans the emergency exits and the lobby doors. Most of the second-story windows are casement windows flanked by shutters, which screen a fire-escape balcony. The stage house rises above the western part of the roof, with a facade of plain brick. Interior The front of the theater had facilities for the Theatre Guild, including classrooms, studios, a club room, a library, and a book store. The rear of the theater contains the auditorium. The auditorium was built one story above ground, as contrasted with comparable theaters, where the auditorium was at ground level. During 1993, the lobby was redecorated in the Art Deco style. From the lobby, there were either three or five steps leading down to the upper tier of a two-tiered lounge. Its tiers differed only slightly in height due to the sloped floor of the auditorium. The two sections of the lounge were connected by a flight of three steps, spanned by three arches. There were two arched openings between the lounge's tiers, blocked off by iron railings. Both tiers originally had an ornate multicolored carpet, as well as wall fixtures that are made from the frames of antique Italian altar cards. The upper lounge had a barrel-vaulted ceiling covered in rough plaster. The lower lounge had Italian-style furniture arranged around a fireplace. This room had blue walls, frescos, and furniture in an Italian style, with paneled walnut doors leading to the adjacent women's bathroom. while The Broadway League cites 1,228 seats. When the Guild Theatre opened, it was variously cited as containing 914 The main restrooms are placed on the orchestra level. Barbara Campagna and Francesca Russo restored much of the interior detail in a 1995 renovation. Unlike typical theaters of the time, the Guild Theatre lacked box seats, a design feature intended to give the appearance of coziness. It also did not have a traditional proscenium arch; the auditorium's side walls ended at the stage rather than curving in front of it, thereby creating an unusually wide opening. In addition to the former main staircase at the rear of the auditorium, emergency exits are placed to the north and south. Three arches on the south side lead down to an enclosed staircase to 52nd Street, while a door on the north side leads to a rear court behind the theater. The decorative elements included rough-plaster walls with tapestries, loggias, and cartouches. The modern stage can be extended by up to using a curved stage apron. The area above the stage's ceiling is tall, with the gridiron being above the stage. The club room, also known as the library, was behind the five large arches on the third story. It was accessed by its own elevator from the street. The club room had either green or blue walls and a red carpet. This room also had an Italian fireplace with a painted hood. On one wall was a niche with space for a writing table. The club room also had sofas, tables, lamps, and antique cabinets. A kitchenette and serving pantry, next to the club room, were used when the members hosted events. The classrooms, dressing rooms, and studios were in the western side of the theater, with the dressing rooms at the front of the building. The dressing rooms were arranged in several tiers because of limited space and because New York City building regulations forbade the construction of dressing facilities below the stage. The main performers typically were assigned dressing rooms nearest the stage, while supporting performers had to ascend several flights of stairs to reach their rooms. One architectural publication wrote that "the number of such flights the actor has to climb to reach his room accurately [indicates] his position in the company, for the higher he ascends the farther he is from stardom." == History ==

Times Square became the epicenter for large-scale theater productions between 1900 and the Great Depression. The Theatre Guild became a major producer on Broadway during the latter half of this era. The Guild had been founded in 1919 by Lawrence Langner, Philip Moeller, Helen Westley, and Theresa Helburn as an outgrowth of the Washington Square Players. The Guild's first home was the Garrick Theatre on 35th Street, Though it started with 150 subscribers, Development and early years Planning and construction at the Guild Theatre's groundbreaking in 1924 At a dinner at the Waldorf–Astoria in March 1923, the Theatre Guild launched a fundraiser for the construction of a dedicated theater, which was estimated to cost $500,000. The proposed theater was to have double that capacity. A New York Times writer said the Theatre Guild "must be given room for healthy expansion or risk being permanently crippled". The next month, the Guild started selling bonds to pay for the construction cost. The bonds were sold exclusively to Guild subscribers for one week, during which subscribers bought $273,000 worth of bonds. Afterward, the Theatre Guild made the bond issue available to the general public. Early in the theater's planning, Geddes had proposed a quarter-circular auditorium, with the stage at the middle of the quarter-circle's curve. This arrangement would not have allowed a proper backstage area, so the stage would have been able to descend to the basement. Plans for the theater were filed with the New York City Department of Buildings two months later at a projected cost of $350,000. 1920s The Guild Theatre opened on April 13, 1925, when U.S. president Calvin Coolidge pressed a button in the White House to turn on the lights. The first production was a revival of George Bernard Shaw's Caesar and Cleopatra, with Lionel Atwill and Helen Hayes, which ran for 128 performances. The Theatre Guild also implemented a program of "alternating repertory" at the Guild Theatre and its other theaters in the 1920s. Actors appeared in multiple plays at the Theatre Guild's venues, switching at regular intervals (often a week). Shaw's play Arms and the Man with Alfred Lunt and Lynn Fontanne opened at the Guild Theatre in September 1925, followed by Ferenc Molnár's play The Glass Slipper. Lunt and Fontanne starred in many of the Guild Theatre's early plays, mostly performing together. The couple's appearances included Goat Song, ''At Mrs. Beam's, and Juarez and Maximilian in 1926; The Brothers Karamazov, The Second Man, and The Doctor's Dilemma in 1927; Caprice in 1928; and Meteor in 1929. Sometimes, only one spouse appeared, such as Fontanne in Pygmalion (1926) and Lunt in Marco Millions (1928). Other plays during the 1920s included Right You Are if You Think You Are with Edward G. Robinson in 1927, as well as Faust with Helen Chandler, Dudley Digges, and George Gaul in 1928. Alice Brady, Otto Kruger, and Claude Rains performed in Karl and Anna and The Game of Love and Death in 1929, and Gale Sondergaard also appeared in Karl and Anna''. The Guild Theatre's productions during 1930 included Ivan Turgenev's play A Month in the Country with Digges, Alla Nazimova, Henry Travers, and Katharine Hepburn; the revue The Garrick Gaieties;'' and Maxwell Anderson's play Elizabeth the Queen with Lunt and Fontanne. The next year, the theater hosted Lynn Riggs's play Green Grow the Lilacs (subsequently the inspiration for the musical Oklahoma!) and Eugene O'Neill's play Mourning Becomes Electra. In 1932, the Guild Theatre hosted Shaw's play Too True to Be Good with Beatrice Lillie and Hope Williams; a theatrical version of Pearl S. Buck's novel The Good Earth with Nazimova, Rains, Travers, Sydney Greenstreet, and Jessie Ralph; and S. N. Behrman's comedy Biography with Ina Claire. W. Somerset Maugham's translation of the Italian play The Mask and the Face opened in 1933 with Judith Anderson, Humphrey Bogart, Shirley Booth, and Leo G. Carroll. It was followed that year by O'Neill's comedy Ah, Wilderness! with George M. Cohan and Gene Lockhart. By the mid-1930s, the Guild Theatre and the neighboring Alvin (now Neil Simon) Theatre were the northernmost venues in the Theater District that still hosted legitimate shows. The Guild Theatre hosted A Sleeping Clergyman and Anderson's play Valley Forge in 1934. The revue Parade opened the next year, along with the play The Taming of the Shrew with Lunt, Fontanne, Greenstreet, and Richard Whorf. Other 1930s plays at the Guild Theatre included Behrman's play End of Summer in 1936 and Ben Hecht's play To Quito and Back in 1937. The interior was renovated and repainted prior to the opening of To Quito and Back. The Theatre Guild was having trouble booking long-lasting productions by the late 1930s. Many successful plays left after 50 performances, with flops having even shorter runs. Other issues concerned the theater's small capacity and the Guild's focus on experimental productions that could not be staged elsewhere. In 1938, the Theatre Guild started leasing the theater to outside producers. which had only 20 performances. though this play also closed after a short run. Another Saroyan play followed the next year, The Time of Your Life. The United Booking Office leased the Guild Theatre for one year starting in April 1940, sharing the theater's profits and losses. Numerous plays were staged at the Guild Theatre during the early 1940s, none of which were particularly successful. A revival of Ah, Wilderness! and Sophie Treadwell's Hope for a Harvest appeared in 1941, while Papa Is All, ''Yesterday's Magic; Mr. Sycamore, and The Russian People'' all appeared in 1942. By then, the Guild Theatre was too small for the Theatre Guild, which was more commonly using the much larger Shubert and St. James theaters. The Theatre Guild continued to occupy the offices, dressing rooms, and rehearsal rooms next to the auditorium. Over the next month, MBS added loudspeakers and made acoustic modifications to the theater's interior, which The New York Times said had long suffered from "tonal defects". The Theatre Guild finally relocated its offices from the theater in 1944. The Bowery Savings Bank sold the $557,500 mortgage on the theater in 1946 to the Dorsar Enterprises Inc., which was owned by the Shubert family. The West 52nd Street Theatre Company retained ownership of the theater. Malin Studios subsequently also occupied space in the building, and WOR continued to lease the auditorium on a monthly basis. and federal judge Henry W. Goddard approved the plan that March. The plan was placed on hold pending the outcome of two judicial appeals. Goddard placed the theater for auction in January 1950, ANTA had beat out the only other bidder, developer Irving Maidman. ANTA operation 1950s ANTA's first play at the theater was Robinson Jeffers's The Tower Beyond Tragedy with Judith Anderson in November 1950. This was followed the next month by a revival of the comedy Twentieth Century with Gloria Swanson and José Ferrer. U.S. president Harry S. Truman dedicated the ANTA Playhouse in April 1951, and the American Academy of Dramatic Arts leased space in the building the same year. Revivals continued for a short time, and The School for Wives in 1951, as well as Desire Under the Elms and Golden Boy in 1952. The ANTA Playhouse also briefly hosted Mary Chase's play Mrs. McThing in 1952. The ANTA Playhouse was closed for the next two years for a major renovation. The theater's capacity was increased to 1,215 seats, hosting the William Archibald play Portrait of a Lady. The next year, the theater hosted the play The Dark Is Light Enough, a musical rendition of the play Seventh Heaven, and a revival of The Skin of Our Teeth. Lunt and Fontanne starred in the Russel Crouse and Howard Lindsay comedy The Great Sebastians in early 1956. This was followed by ANTA's first long-running show at its theater, Paddy Chayefsky's play Middle of the Night with Edward G. Robinson, which ran for 477 performances. The ANTA Theatre then hosted two dance engagements in 1957: the Dancers of India and the Dancers of Bali. Two long-running shows followed in 1958. The comedy Say, Darling with Robert Morse, Vivian Blaine, and Johnny Desmond ran for 332 performances, and the play J.B. with Pat Hingle, Raymond Massey, and Christopher Plummer lasted 364 performances. This was followed in 1961 by Hugh Wheeler's play Big Fish, Little Fish, as well as Robert Bolt's play A Man for All Seasons, In 1963, the ANTA Theatre hosted The Advocate, the first Broadway production whose run was simultaneously broadcast on Westinghouse Broadcasting. The ANTA Theatre staged two hits in 1964: James Baldwin's play Blues for Mister Charlie and the two-person comedy The Owl and the Pussycat with Diana Sands and Alan Alda. That year, Harris Masterson and Norman Twain leased the theater from ANTA for five years. The ANTA Theatre hosted Peter Shaffer's play The Royal Hunt of the Sun in 1965, which was the last successful production of the decade. Also in 1965, the ANTA Theatre installed an alcoholic bar, being the third Broadway theater to do so after New York state approved liquor sales at theaters. During the mid-1960s, ANTA operated the ANTA Washington Square Theatre in Greenwich Village as a temporary home for the Lincoln Center Theater. The proceeds from the Washington Square Theatre were used to lower the mortgage on the ANTA Theatre on 52nd Street. The National Repertory Theatre performed at ANTA's 52nd Street theater in 1967, and the American Conservatory Theater performed in 1969. The American Shakespeare Festival's production of Henry V and the Wilder play Our Town also appeared at the ANTA Theatre in 1969. ANTA and the Phoenix Theatre collaborated for the play Harvey with Helen Hayes, James Stewart, and Jesse White, which opened in 1970. Several dance companies performed in 1971, including those of Alvin Ailey, the Dance Theatre of Harlem, Louis Falco, Pearl Lang, Alwin Nikolais, and Paul Taylor. The same year, the hit musical Purlie relocated to the ANTA Theatre from the Broadway Theatre. The ANTA Theatre's later offerings tended to reflect the decrease in the number of hit productions on Broadway. Two years later, Cat on a Hot Tin Roof opened with Elizabeth Ashley, Fred Gwynne, Keir Dullea, and Kate Reid. The musical Bubbling Brown Sugar opened at the ANTA Theatre in 1976, running for 766 performances. as well as Tom Stoppard's play Night and Day with Maggie Smith. ANTA Theatre hosted the Russian comedy The Suicide with Derek Jacobi in the following year, which had a moderate run of 60 performances. but Oh, Brother! closed after its third performance. Afterward, ANTA relocated to Washington, D.C. At the end of the year, Jujamcyn announced that the theater would be renamed the Virginia Theatre, after Mrs. Binger. At the end of the next year, a revival of the play Alice in Wonderland opened, running for less than a month. The Rodgers and Hart musical On Your Toes opened in March 1983, staying for 505 performances. with discussions continuing over the next several years. The LPC designated the facades of the Virginia, Ambassador, and Neil Simon theaters as landmarks in August 1985, along with the Ambassador's and Neil Simon's interiors, over the objections of the three theaters' owners. The New York City Board of Estimate ratified the landmark designations in December 1985. When more Broadway theaters were being protected as landmarks in the late 1980s, deputy mayor Robert Esnard cited the removal of the Virginia's interior ornamentation as an "extreme example of what happens" when theater interiors were not preserved. and Michael Frayn's play Wild Honey in December. A revival of the operetta The Mikado was performed at the Virginia in 1987, and the attic was renovated the same year. Carrie lost about $7 million during its five performances (including $500,000 just on a renovation of the Virginia), and The New York Times called it "the most expensive quick flop in Broadway history". The interior was painted black for Carrie, but the bare color scheme was retained after the musical's closure. and the musical Shenandoah. The Virginia finally had a hit when the musical City of Angels opened in December 1989, running 878 performances over two years. 1990s to mid-2010s The musical ''Jelly's Last Jam'', with Gregory Hines and Tonya Pinkins, opened in April 1992 and ran for over a year. but it shuttered after 165 performances. which had 2,036 performances through 2000. It was followed by Gore Vidal's The Best Man during late 2000 and by August Wilson's King Hedley II during mid-2001. Next, in 2002, the theater hosted revivals of the Arthur Miller play The Crucible and the Rodgers and Hammerstein musical Flower Drum Song. Comedian Bill Maher performed a limited run of his solo show Victory Begins at Home in May 2003. The musical Little Shop of Horrors opened that October after almost canceling its Broadway appearance altogether; it lasted for 372 performances through 2004. Rocco Landesman bought the Virginia and Jujamcyn's four other theaters in 2005, along with the air rights above them. Landesman announced in September 2005 that he would rename the Virginia for August Wilson, the Pulitzer Prize-winning playwright, who had terminal cancer. Wilson died the next month, and the theater was renamed in his honor on October 16, two weeks after his death. Wilson was the first Black theatrical personality to have a Broadway theater named after him. Jordan Roth joined Jujamcyn as a resident producer the same year, and the musical Jersey Boys opened in November 2005. In 2009, Roth acquired a 50 percent stake in Jujamcyn and assumed full operation of the firm when Landesman joined the National Endowments of the Arts. Jujamcyn replaced the theater's seats in January 2012. Jersey Boys occupied the August Wilson for over a decade, running for 4,642 performances During the August Wilson's closure, its marquee was typically dimmed to memorialize pandemic victims. The marquee was re-lit in November 2020 to commemorate a longtime Jujamcyn stagehand killed in an accident at the Winter Garden Theatre. Mean Girls was officially canceled in January 2021, while the theater was still closed. As part of a settlement with the United States Department of Justice in 2021, Jujamcyn agreed to improve disabled access at its five Broadway theaters, including the August Wilson. Also during the COVID-19 shutdown, the Shuberts, Nederlanders, and Jujamcyn had pledged to increase racial and cultural diversity in their theaters, including naming at least one theater for a Black theatrical personality. Jujamcyn was the only theatrical organization that had already named a theater for a Black artist. The theater reopened on August 4, 2021, with Antoinette Nwandu's play Pass Over, making it the first Broadway house to resume performances during the COVID-19 pandemic. Pass Over had a limited run, closing in October 2021. Jujamcyn and Ambassador Theatre Group (ATG) agreed to merge in early 2023; the combined company would operate seven Broadway theaters, including the August Wilson. In July 2023, Jordan Roth sold a 93 percent stake in Jujamcyn's five theaters, including the August Wilson Theatre, to ATG and Providence Equity. The revival of the musical Cabaret opened at the August Wilson in April 2024, A mezzanine seating area was built within part of the backstage area; These modifications doubled the theater's usual capacity and were specifically intended to accommodate Cabaret, which ran until September 2025. A stage adaptation of Dog Day Afternoon is opened at the theatre in March 2026, running until that June. ==Notable productions==

Productions are listed by the year of their first performance. Guild Theatre ANTA Playhouse/ANTA Theatre Virginia Theatre August Wilson Theatre ==Box office record==

Mean Girls achieved the box office record for the August Wilson Theatre, grossing $1,994,386 for the week ending December 30, 2018. This was surpassed by Funny Girl, which grossed $2,005,696 over nine performances for the week ending December 18, 2022. Funny Girl broke its own record two weeks later, grossing $2,405,901 over nine performances running through January 1, 2023. ==See also==