George S. Kaufman: Summary
- Recent Role:
- on Hallmark Hall Of Fame
- Gender:
- Female
- Birthday:
- 11-16-1889
- Death:
- 6-2-1961
- Birthplace:
- Pittsburgh, Pennsylvania
- Birth Name:
- George Simon Kaufman
George S. Kaufman, who became known as "The Great Collaborator of the American Theater," was born in Pittsburgh, Pennsylvania, on November 16, 1889. He was the middle child, born between an older sister Helen and a younger sister Ruth. His father Joseph was a somewhat unsuccessful businessman, who changed his jobs frequently, and his mother Nettie was highly neurotic and overprotective of her son.
As a young teen, Kaufman was introduced to the theater by his rabbi, first as an actor and later as a writer. At the age of 14, Kaufman wrote his first play, called "The Failure," with Irving Pichel (who later became a famous Hollywood actor and director). Also during his teens, Kaufman wrote short stories intended for publication in magazines, but he only managed to get his works published in his school newspaper.
After graduation from Pittsburgh Central High School in 1907, he attended Western University of Pennsylvania School of Law in Pittsburgh. After only 3 months, however, he was diagnosed with pleurisy and advised to take a job in the open air, thus becoming an apprentice to a land surveyor. Showing no discernible talent for surveying, he attended secretarial school and took various jobs, including window clerk in a tax office and stenographer for the Pittsburgh Coal Co.
In 1908, Joseph Kaufman moved his family to Paterson, New Jersey, where he accepted the position of superintendent at the Columbia Ribbon Mill, and George became a ribbon salesman for the company. During this time, he had some of his writings published in local newspapers and, more importantly, in "The New York Evening Mail," in a popular daily column written by Franklin Pierce Adams (known as F.P.A.). Kaufman, born without a middle name but wishing to emulate F.P.A., added a middle initial to his name and signed his work G.S.K. (Originally the middle initial didn't stand for any name, but Kaufman later took his grandfather's name Simon.)
Kaufman eventually met his mentor F.P.A., who encouraged his interest in theater and suggested that Kaufman take some classes in the dramatic arts. So, in 1910, after attending acting classes at the Alveine School of Drama in New York, Kaufman got his first taste of the theater by managing (unsuccessfully) a stock company in Troy, New York. Kaufman later attended classes in playwriting and modern theater at Columbia University.
In 1912, F.P.A. helped Kaufman get his own column at "The Washington Times." The column was called "This and That and Sometimes a Little of the Other" and was well received, but Kaufman was fired after a year by his anti-Semitic employer. In 1913, F.P.A. left the Evening Mail and suggested Kaufman as his replacement. Kaufman lasted only a year at that paper as well and moved on to "The New York Tribune," first as a general-purpose reporter and later as a drama reporter, a position in which Kaufman was exposed to the theatrical world again. This exposure rekindled his interest in the theater, and he returned (unsuccessfully) to playwriting with a couple of unproduced plays. In 1917, he moved up to "The New York Times," eventually becoming its drama editor, a position he held until 1930, even after he had found success as a playwright. During his early years at the Times, Kaufman's boss was chief drama critic Alexander Woollcott, who during the 1920s presided over the daily lunch meetings at the Algonquin Hotel with various writers, artists, actors, etc., collectively known as the Algonquin Round Table. Aside from Woollcott and Kaufman, the Round Table members included F.P.A., Heywood Broun, Robert Benchley, Dorothy Parker, Robert E. Sherwood, Ring Lardner, Harold Ross, Ben Hecht, Charles MacArthur, Marc Connelly, Harpo Marx, Alfred Lunt, Lynne Fontanne, Edna Ferber, and Neysa McMein. By the early 1930s, the Round Table was defunct, and many of its members had moved on to Hollywood.
Kaufman tried his hand at playwriting once again (with no success) in 1917 with a play called "Going Up"; however, the play attracted the attention of the impresario George C. Tyler, who commissioned Kaufman to doctor a couple of plays written by Larry Evans and Walter Percival, "Among Those Present" and "Someone in the House," both of which were produced in 1918. The next year, he wrote an adaptation of "Jacques Duval," but none of these plays was particularly successful.
In 1921, Kaufman penned his first hit play. "Dulcy," written with Marc Connelly, was based on a character in F.P.A.'s column named Dulcinea, a well-meaning but somewhat dim woman who tended to speak in trite aphorisms. Kaufman and Connelly wrote 7 more plays together, notably "To the Ladies," "Merton of the Movies," and "Beggar on Horseback."
In 1924, Kaufman moved on to a new collaborator, Edna Ferber, with whom he wrote 6 plays over the next 25 years, including "Minick," "The Royal Family," "Dinner at Eight," "Stage Door," "The Land Is Bright," and "Bravo!"
The next year, Kaufman wrote one of his most popular plays, "The Butter and Egg Man," a rare solo effort. This same fateful year brought Kaufman together with the Marx Brothers for the first time with "The Cocoanuts," which they followed up a few years later with "Animal Crackers." Kaufman's last encounter with the brothers was the 1935 hit film "A Night at the Opera," as screenwriter.
It was through his writings for the Marx Brothers that Kaufman began collaborating with Morrie Ryskind, with whom he won his first Pulitzer Prize in 1931 for "Of Thee I Sing." A year earlier, Kaufman had begun working with Moss Hart, who eventually became his favorite collaborator. Kaufman and Hart, over a period of 10 years, turned out 8 plays, notably "Once in a Lifetime" (their first), "You Can't Take It with You" (their Pulitzer Prize winner), and "The Man Who Came to Dinner."
In the early 1940s, the winning team of Kaufman and Hart split up and Kaufman had difficulty finding worthy collaborators thereafter. By the 1950s, Kaufman was writing primarily with his second wife Leueen MacGrath, their one hit being "Silk Stockings," a musical reworking of "Ninotchka," in 1955. The year before, Kaufman, in collaboration with Howard Teichmann, penned the hit "The Solid Gold Cadillac."
In all, Kaufman wrote 45 plays, with 27 hits and 18 failures, not a bad batting average. Although Kaufman hated Hollywood, Hollywood did not return the sentiment. In fact, all of his hit plays were adapted for film, sometimes repeatedly, but not by Kaufman, whose only contribution to Hollywood as writer, aside from his stints with the Marx Brothers, was on Eddie Cantor's "Roman Scandals" in 1934. In 1947, Kaufman was lured to Tinseltown to direct his only film "The Senator Was Indiscreet."
Kaufman as director contributed a great deal to the theater, however. Aside from directing most of his own plays, Kaufman also directed the original stage productions of several highly successful plays, including "The Front Page" (his first), "Of Mice and Men," "My Sister Eileen," "Guys and Dolls" (for which he won a Tony Award in 1951), and "Romanoff and Juliet" (his last).
Kaufman was also a performer, becoming more so late in life. He took on the roles of Lawrence Vail in "Once in a Lifetime" on Broadway in 1930 and Sheridan Whiteside in "The Man Who Came to Dinner" in summer theater in 1939. In the 1940s and 1950s, he appeared on the radio quiz show "Information, Please," on the television game show "This Is Show Business," and on Jack Paar's "The Tonight Show."
In 1950, Kaufman suffered a serious stroke that left him blind in the left eye and partially paralyzed in the left arm and leg. He remained active in the theater until the late 1950s, when additional strokes and other health problems forced him into inactivity until his death in 1961.
A CHRONOLOGICAL LIST OF KAUFMAN'S PLAYS:
Among Those Present (1918)(written with Larry Evans and Walter Percival)
Someone in the House (1918)(written with Larry Evans and Walter Percival)
Jacques Duval (1919)(writer)
Dulcy (1921)(written with Marc Connelly)
To the Ladies (1922)(written with Marc Connelly)
Merton of the Movies (1922)(written with Marc Connelly)
Helen of Troy, New York (1923)(written with Marc Connelly)
The Deep, Tangled Wildwood (1923)(written with Marc Connelly)
Beggar on Horseback (1924)(written with Marc Connelly)
Be Yourself (1924)(written with Marc Connelly)
Minick (1924)(written with Edna Ferber)
The Butter and Egg Man (1925)(writer)
The Cocoanuts (1925)(written with Morrie Ryskind [uncredited])
The Good Fellow (1926)(written with Herman J. Mankiewicz)(directed with Howard Lindsay)
The Royal Family (1927)(written with Edna Ferber)
Strike Up the Band (1927)(written with Morrie Ryskind)
Animal Crackers (1928)(written with Morrie Ryskind)
The Front Page (1928) (director only)
June Moon (1929)(written with Ring Lardner; director)
The Channel Road (1929)(written with Alexander Woollcott)
Joseph (1930)(director only)
Once in a Lifetime (1930)(written with Moss Hart; director; actor)
The Band Wagon (1931)(written with Howard Dietz)
Eldorado (1931)(written with Laurence Stallings)(closed in New Haven)
Of Thee I Sing (1931)(written with Morrie Ryskind; director)
Face the Music (1932)(directed with Hassard Short)
Here Today (1932)(director only)
Dinner at Eight (1932)(written with Edna Ferber; director)
Let 'Em Eat Cake (1933)(written with Morrie Ryskind; director)
The Dark Tower (1933)(written with Alexander Woollcott; director)
Merrily We Roll Along (1934)(written with Moss Hart; director)
Bring on the Girls (1934)(written with Morrie Ryskind; director)
First Lady (1935)(written with Katharine Dayton; director)
Tomorrow's a Holiday (1935)(director only)
Stage Door (1936)(written with Edna Ferber; director)
You Can't Take It with You (1936)(written with Moss Hart; director)
Of Mice and Men (1937)(director only)
I'd Rather Be Right (1937)(written with Moss Hart; director)
The Fabulous Invalid (1938)(written with Moss Hart; director)
The American Way (1939)(written with Moss Hart; director)
The Man Who Came to Dinner (1939)(written with Moss Hart; director)
George Washington Slept Here (1940)(written with Moss Hart; director)
My Sister Eileen (1940)(director only)
Mr. Big (1941)(director only)
The Land Is Bright (1941)(written with Edna Ferber; director)
The Doughgirls (1942)(director only)
The Naked Genius (1943)(director only)
Franklin Street (1943)(director only)(closed in Wilmington)
Over Twenty-One (1944)(director only)
While the Sun Shines (1944)(director only)
The Late George Apley (1944)(written with John P. Marquand; director)
Hollywood Pinafore (1945)(writer; director)
The Next Half Hour (1945)(director only)
Park Avenue (1946)(written with Nunnally Johnson; director)
Town House (1948)(director only)
Bravo! (1948)(written with Edna Ferber; director)
Pretty Penny (1949)(director only)(closed in New Hope, PA)
Metropole (1949)(director only)
The Enchanted (1950)(director only)
Guys and Dolls (1950)(director only)
The Small Hours (1951)(written with Leueen MacGrath; director)
Fancy Meeting You Again (1952)(written with Leueen MacGrath; director)
The Solid Gold Cadillac (1953)(written with Howard Teichmann; director)
Silk Stockings (1955)(written with Leueen MacGrath and Abe Burrows; director [replaced by Cy Feuer])
Romanoff and Juliet (1957)(director only)
Unproduced and/or Unfinished Plays:
The Failure (1903, 1911, 1914)(written with Irving Pichel)(never produced)
The Lunatic (1914)(written with Herbert Seligmann)(never produced)
That Infernal Machine (1915)(written with Wymberley de Renne)(never produced)
Going Up (1917)(never produced)
Third Man High (1919)(written with Robert Nathan)(never produced)
Sleeper Jump (1942)(written with Herman J. Mankiewicz)(screenplay, never produced)
And Baby Makes Two (1952)(written with Leueen MacGrath)(screenplay, never produced)
United Nations (1952)(written with Howard Teichmann)(unfinished)
The Hat (1953)(written with Leueen MacGrath)(screenplay, never produced)
Exile (1954)(written with Howard Teichmann)(never produced)
Story of a Woman (1954)(never produced)
In the Money (1954)(written with Howard Teichmann)(never produced)
Under the Influence (1954)(written with Geoffrey Kerr)(unfinished)
The Lipstick War (1956)(written with Alan Campbell)(never produced)
Apartment to Share (1957)(written with Helen Hunter)(unfinished)
The Same as Before Only Worse (1958)(written with Ruth Goetz)(never produced)
I Give It Six Months (1961)(written with Leueen MacGrath)(never produced)
Labor Leader (1961)(written with Marc Connelly)(unfinished)
A CHRONOLOGICAL LIST OF KAUFMAN'S SKETCHES:
Big Casino Is Little Casino (1922). Part of "No Sirree!" a revue put on by The Algonquin Round Table.
Life in the Back Pages (1922). Part of "The 49ers," a revue put on by The Algonquin Round Table.
A Christmas Carol (1922)(written with Marc Connelly)(never produced)
If Men Played Cards As Women Do (1922). Part of "Music Box Revue."
Beggar off Horseback (written with Marc Connelly); If One of Us Was You, Dear; Just a Corner of Old Hyde Park, London, England; and Moron Films, Educational, Travel and Topical (written with Herman J. Mankiewicz). Parts of "Round the Town."
Business Is Business (1925)(written with Dorothy Parker)(never produced)
Nothing Coming In (1925)(written with Herman J. Mankiewicz)(never produced)
Shop Talk (1926). Part of the annual Dutch Treat Club show.
Something New (1928)(written with Morrie Ryskind)(never produced)
The Still Alarm (1929). Part of "The Little Show."
Service (1932)(written with Marc Connelly). Part of the annual Dutch Treat Club show.
On the American Plan (1932). Part of "Flying Colors."
Or What Have You (1933)(written with Marc Connelly). Part of the annual Dutch Treat Club show.
Prom Night (1934)(never produced)
The Paperhanger (1935)(written with Moss Hart)(never produced)
The Man Who Went to Moscow; Washington, D.C. (1942)(written with Moss Hart). Parts of the Lunchtime Follies.
Dream On, Soldier (1943)(written with Moss Hart)
Local Boy Makes Good (1944). Part of "Seven Lively Arts."
The Ladies (1945)(written with Moss Hart)(never produced)
Moss Hart at the Analyst's (1945)(never produced)
Freedom of the Air (1945)(never produced)
School for Waiters (1948). Part of "Inside U.S.A."
Amicable Parting (1957)(written with Leueen MacGrath)
Meet the Audience (?)(never produced) George S. Kaufman, who became known as "The Great Collaborator of the American Theater," was born in Pittsburgh, Pennsylvania, on November 16, 1889. He was the middle child, born between an older sister Helen and a younger sister Ruth. His father Joseph was a somewhat unsuccessful businessman, who changed his jobs frequently, and his mother Nettie was highly neurotic and...
As a young teen, Kaufman was introduced to the theater by his rabbi, first as an actor and later as a writer. At the age of 14, Kaufman wrote his first play, called "The Failure," with Irving Pichel (who later became a famous Hollywood actor and director). Also during his teens, Kaufman wrote short stories intended for publication in magazines, but he only managed to get his works published in his school newspaper.
After graduation from Pittsburgh Central High School in 1907, he attended Western University of Pennsylvania School of Law in Pittsburgh. After only 3 months, however, he was diagnosed with pleurisy and advised to take a job in the open air, thus becoming an apprentice to a land surveyor. Showing no discernible talent for surveying, he attended secretarial school and took various jobs, including window clerk in a tax office and stenographer for the Pittsburgh Coal Co.
In 1908, Joseph Kaufman moved his family to Paterson, New Jersey, where he accepted the position of superintendent at the Columbia Ribbon Mill, and George became a ribbon salesman for the company. During this time, he had some of his writings published in local newspapers and, more importantly, in "The New York Evening Mail," in a popular daily column written by Franklin Pierce Adams (known as F.P.A.). Kaufman, born without a middle name but wishing to emulate F.P.A., added a middle initial to his name and signed his work G.S.K. (Originally the middle initial didn't stand for any name, but Kaufman later took his grandfather's name Simon.)
Kaufman eventually met his mentor F.P.A., who encouraged his interest in theater and suggested that Kaufman take some classes in the dramatic arts. So, in 1910, after attending acting classes at the Alveine School of Drama in New York, Kaufman got his first taste of the theater by managing (unsuccessfully) a stock company in Troy, New York. Kaufman later attended classes in playwriting and modern theater at Columbia University.
In 1912, F.P.A. helped Kaufman get his own column at "The Washington Times." The column was called "This and That and Sometimes a Little of the Other" and was well received, but Kaufman was fired after a year by his anti-Semitic employer. In 1913, F.P.A. left the Evening Mail and suggested Kaufman as his replacement. Kaufman lasted only a year at that paper as well and moved on to "The New York Tribune," first as a general-purpose reporter and later as a drama reporter, a position in which Kaufman was exposed to the theatrical world again. This exposure rekindled his interest in the theater, and he returned (unsuccessfully) to playwriting with a couple of unproduced plays. In 1917, he moved up to "The New York Times," eventually becoming its drama editor, a position he held until 1930, even after he had found success as a playwright. During his early years at the Times, Kaufman's boss was chief drama critic Alexander Woollcott, who during the 1920s presided over the daily lunch meetings at the Algonquin Hotel with various writers, artists, actors, etc., collectively known as the Algonquin Round Table. Aside from Woollcott and Kaufman, the Round Table members included F.P.A., Heywood Broun, Robert Benchley, Dorothy Parker, Robert E. Sherwood, Ring Lardner, Harold Ross, Ben Hecht, Charles MacArthur, Marc Connelly, Harpo Marx, Alfred Lunt, Lynne Fontanne, Edna Ferber, and Neysa McMein. By the early 1930s, the Round Table was defunct, and many of its members had moved on to Hollywood.
Kaufman tried his hand at playwriting once again (with no success) in 1917 with a play called "Going Up"; however, the play attracted the attention of the impresario George C. Tyler, who commissioned Kaufman to doctor a couple of plays written by Larry Evans and Walter Percival, "Among Those Present" and "Someone in the House," both of which were produced in 1918. The next year, he wrote an adaptation of "Jacques Duval," but none of these plays was particularly successful.
In 1921, Kaufman penned his first hit play. "Dulcy," written with Marc Connelly, was based on a character in F.P.A.'s column named Dulcinea, a well-meaning but somewhat dim woman who tended to speak in trite aphorisms. Kaufman and Connelly wrote 7 more plays together, notably "To the Ladies," "Merton of the Movies," and "Beggar on Horseback."
In 1924, Kaufman moved on to a new collaborator, Edna Ferber, with whom he wrote 6 plays over the next 25 years, including "Minick," "The Royal Family," "Dinner at Eight," "Stage Door," "The Land Is Bright," and "Bravo!"
The next year, Kaufman wrote one of his most popular plays, "The Butter and Egg Man," a rare solo effort. This same fateful year brought Kaufman together with the Marx Brothers for the first time with "The Cocoanuts," which they followed up a few years later with "Animal Crackers." Kaufman's last encounter with the brothers was the 1935 hit film "A Night at the Opera," as screenwriter.
It was through his writings for the Marx Brothers that Kaufman began collaborating with Morrie Ryskind, with whom he won his first Pulitzer Prize in 1931 for "Of Thee I Sing." A year earlier, Kaufman had begun working with Moss Hart, who eventually became his favorite collaborator. Kaufman and Hart, over a period of 10 years, turned out 8 plays, notably "Once in a Lifetime" (their first), "You Can't Take It with You" (their Pulitzer Prize winner), and "The Man Who Came to Dinner."
In the early 1940s, the winning team of Kaufman and Hart split up and Kaufman had difficulty finding worthy collaborators thereafter. By the 1950s, Kaufman was writing primarily with his second wife Leueen MacGrath, their one hit being "Silk Stockings," a musical reworking of "Ninotchka," in 1955. The year before, Kaufman, in collaboration with Howard Teichmann, penned the hit "The Solid Gold Cadillac."
In all, Kaufman wrote 45 plays, with 27 hits and 18 failures, not a bad batting average. Although Kaufman hated Hollywood, Hollywood did not return the sentiment. In fact, all of his hit plays were adapted for film, sometimes repeatedly, but not by Kaufman, whose only contribution to Hollywood as writer, aside from his stints with the Marx Brothers, was on Eddie Cantor's "Roman Scandals" in 1934. In 1947, Kaufman was lured to Tinseltown to direct his only film "The Senator Was Indiscreet."
Kaufman as director contributed a great deal to the theater, however. Aside from directing most of his own plays, Kaufman also directed the original stage productions of several highly successful plays, including "The Front Page" (his first), "Of Mice and Men," "My Sister Eileen," "Guys and Dolls" (for which he won a Tony Award in 1951), and "Romanoff and Juliet" (his last).
Kaufman was also a performer, becoming more so late in life. He took on the roles of Lawrence Vail in "Once in a Lifetime" on Broadway in 1930 and Sheridan Whiteside in "The Man Who Came to Dinner" in summer theater in 1939. In the 1940s and 1950s, he appeared on the radio quiz show "Information, Please," on the television game show "This Is Show Business," and on Jack Paar's "The Tonight Show."
In 1950, Kaufman suffered a serious stroke that left him blind in the left eye and partially paralyzed in the left arm and leg. He remained active in the theater until the late 1950s, when additional strokes and other health problems forced him into inactivity until his death in 1961.
A CHRONOLOGICAL LIST OF KAUFMAN'S PLAYS:
Among Those Present (1918)(written with Larry Evans and Walter Percival)
Someone in the House (1918)(written with Larry Evans and Walter Percival)
Jacques Duval (1919)(writer)
Dulcy (1921)(written with Marc Connelly)
To the Ladies (1922)(written with Marc Connelly)
Merton of the Movies (1922)(written with Marc Connelly)
Helen of Troy, New York (1923)(written with Marc Connelly)
The Deep, Tangled Wildwood (1923)(written with Marc Connelly)
Beggar on Horseback (1924)(written with Marc Connelly)
Be Yourself (1924)(written with Marc Connelly)
Minick (1924)(written with Edna Ferber)
The Butter and Egg Man (1925)(writer)
The Cocoanuts (1925)(written with Morrie Ryskind [uncredited])
The Good Fellow (1926)(written with Herman J. Mankiewicz)(directed with Howard Lindsay)
The Royal Family (1927)(written with Edna Ferber)
Strike Up the Band (1927)(written with Morrie Ryskind)
Animal Crackers (1928)(written with Morrie Ryskind)
The Front Page (1928) (director only)
June Moon (1929)(written with Ring Lardner; director)
The Channel Road (1929)(written with Alexander Woollcott)
Joseph (1930)(director only)
Once in a Lifetime (1930)(written with Moss Hart; director; actor)
The Band Wagon (1931)(written with Howard Dietz)
Eldorado (1931)(written with Laurence Stallings)(closed in New Haven)
Of Thee I Sing (1931)(written with Morrie Ryskind; director)
Face the Music (1932)(directed with Hassard Short)
Here Today (1932)(director only)
Dinner at Eight (1932)(written with Edna Ferber; director)
Let 'Em Eat Cake (1933)(written with Morrie Ryskind; director)
The Dark Tower (1933)(written with Alexander Woollcott; director)
Merrily We Roll Along (1934)(written with Moss Hart; director)
Bring on the Girls (1934)(written with Morrie Ryskind; director)
First Lady (1935)(written with Katharine Dayton; director)
Tomorrow's a Holiday (1935)(director only)
Stage Door (1936)(written with Edna Ferber; director)
You Can't Take It with You (1936)(written with Moss Hart; director)
Of Mice and Men (1937)(director only)
I'd Rather Be Right (1937)(written with Moss Hart; director)
The Fabulous Invalid (1938)(written with Moss Hart; director)
The American Way (1939)(written with Moss Hart; director)
The Man Who Came to Dinner (1939)(written with Moss Hart; director)
George Washington Slept Here (1940)(written with Moss Hart; director)
My Sister Eileen (1940)(director only)
Mr. Big (1941)(director only)
The Land Is Bright (1941)(written with Edna Ferber; director)
The Doughgirls (1942)(director only)
The Naked Genius (1943)(director only)
Franklin Street (1943)(director only)(closed in Wilmington)
Over Twenty-One (1944)(director only)
While the Sun Shines (1944)(director only)
The Late George Apley (1944)(written with John P. Marquand; director)
Hollywood Pinafore (1945)(writer; director)
The Next Half Hour (1945)(director only)
Park Avenue (1946)(written with Nunnally Johnson; director)
Town House (1948)(director only)
Bravo! (1948)(written with Edna Ferber; director)
Pretty Penny (1949)(director only)(closed in New Hope, PA)
Metropole (1949)(director only)
The Enchanted (1950)(director only)
Guys and Dolls (1950)(director only)
The Small Hours (1951)(written with Leueen MacGrath; director)
Fancy Meeting You Again (1952)(written with Leueen MacGrath; director)
The Solid Gold Cadillac (1953)(written with Howard Teichmann; director)
Silk Stockings (1955)(written with Leueen MacGrath and Abe Burrows; director [replaced by Cy Feuer])
Romanoff and Juliet (1957)(director only)
Unproduced and/or Unfinished Plays:
The Failure (1903, 1911, 1914)(written with Irving Pichel)(never produced)
The Lunatic (1914)(written with Herbert Seligmann)(never produced)
That Infernal Machine (1915)(written with Wymberley de Renne)(never produced)
Going Up (1917)(never produced)
Third Man High (1919)(written with Robert Nathan)(never produced)
Sleeper Jump (1942)(written with Herman J. Mankiewicz)(screenplay, never produced)
And Baby Makes Two (1952)(written with Leueen MacGrath)(screenplay, never produced)
United Nations (1952)(written with Howard Teichmann)(unfinished)
The Hat (1953)(written with Leueen MacGrath)(screenplay, never produced)
Exile (1954)(written with Howard Teichmann)(never produced)
Story of a Woman (1954)(never produced)
In the Money (1954)(written with Howard Teichmann)(never produced)
Under the Influence (1954)(written with Geoffrey Kerr)(unfinished)
The Lipstick War (1956)(written with Alan Campbell)(never produced)
Apartment to Share (1957)(written with Helen Hunter)(unfinished)
The Same as Before Only Worse (1958)(written with Ruth Goetz)(never produced)
I Give It Six Months (1961)(written with Leueen MacGrath)(never produced)
Labor Leader (1961)(written with Marc Connelly)(unfinished)
A CHRONOLOGICAL LIST OF KAUFMAN'S SKETCHES:
Big Casino Is Little Casino (1922). Part of "No Sirree!" a revue put on by The Algonquin Round Table.
Life in the Back Pages (1922). Part of "The 49ers," a revue put on by The Algonquin Round Table.
A Christmas Carol (1922)(written with Marc Connelly)(never produced)
If Men Played Cards As Women Do (1922). Part of "Music Box Revue."
Beggar off Horseback (written with Marc Connelly); If One of Us Was You, Dear; Just a Corner of Old Hyde Park, London, England; and Moron Films, Educational, Travel and Topical (written with Herman J. Mankiewicz). Parts of "Round the Town."
Business Is Business (1925)(written with Dorothy Parker)(never produced)
Nothing Coming In (1925)(written with Herman J. Mankiewicz)(never produced)
Shop Talk (1926). Part of the annual Dutch Treat Club show.
Something New (1928)(written with Morrie Ryskind)(never produced)
The Still Alarm (1929). Part of "The Little Show."
Service (1932)(written with Marc Connelly). Part of the annual Dutch Treat Club show.
On the American Plan (1932). Part of "Flying Colors."
Or What Have You (1933)(written with Marc Connelly). Part of the annual Dutch Treat Club show.
Prom Night (1934)(never produced)
The Paperhanger (1935)(written with Moss Hart)(never produced)
The Man Who Went to Moscow; Washington, D.C. (1942)(written with Moss Hart). Parts of the Lunchtime Follies.
Dream On, Soldier (1943)(written with Moss Hart)
Local Boy Makes Good (1944). Part of "Seven Lively Arts."
The Ladies (1945)(written with Moss Hart)(never produced)
Moss Hart at the Analyst's (1945)(never produced)
Freedom of the Air (1945)(never produced)
School for Waiters (1948). Part of "Inside U.S.A."
Amicable Parting (1957)(written with Leueen MacGrath)
Meet the Audience (?)(never produced) George S. Kaufman, who became known as "The Great Collaborator of the American Theater," was born in Pittsburgh, Pennsylvania, on November 16, 1889. He was the middle child, born between an older sister Helen and a younger sister Ruth. His father Joseph was a somewhat unsuccessful businessman, who changed his jobs frequently, and his mother Nettie was highly neurotic and...
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