Joshua Logan Poster


Jump to: Overview (3)  | Mini Bio (1)  | Family (1)  | Trivia (14)  | Personal Quotes (3)

Overview (3)

Born in Texarkana, Texas, USA
Died in New York City, New York, USA  (progressive supranuclear palsy)
Birth NameJoshua Lockwood Logan III

Mini Bio (1)

Joshua Logan started directing plays while he was still at Princeton and among the first actors he directed were Henry Fonda and James Stewart. His graduation from Princeton was delayed to accompany a classmate to Russia to study with Konstantin Stanislavski, inventor of "method acting". Stanislavsko told him, "To be truly creative you must find your own way, you must not follow some old Stanislavski method". Stanislavski emphasized the importance of the writer and Logan was proudest of the plays and films that he wrote as well as directed. His second wife was the widow of actor Walter Connolly who was 9 years his senior. He published his autobiography in 1976 and died in 1988.

- IMDb Mini Biography By: Dale O'Connor <daleoc@worldnet.att.net>

Family (1)

Spouse Nedda Harrigan (1945 - 12 July 1988)  (his death)  (2 children)
Barbara O'Neil (18 June 1940 - January 1942)  (divorced)

Trivia (14)

A PhD dissertation written on him by Phil Boroff focused on his use of stage technique on film, and film technique on stage.
Won seven Tony Awards: two in 1948 for "Mister Roberts," with collaborator Thomas Heggen as Best Authors and as writers of the Best Play winner; four in 1950 for "South Pacific," as Best Director, Best Authors (Musical) with Oscar Hammerstein II, Best Producers (Musical) wirh Richard Rodgers, Hammerstein and Leland Hayward, and as writers, along with Rodgers and Hammerstein, of the Best Musical winner; and one in 1953, as Best Director for William Inge's "Picnic." He was also Tony-nominated on two other occasions: in 1959, as co-producer of Best Play nominee "Epitaph for George Dillon," and in 1962 as Best Director (Musical) for "All American."
Great-uncle of actor Billy Lockwood.
Directed 6 different performers in Oscar-nominated performances: Arthur O'Connell, Don Murray, Red Buttons, Marlon Brando, Miyoshi Umeki, Charles Boyer. Umeki and Buttons won for their supporting performances in Sayonara (1957).
Biography in: "The Scribner Encyclopedia of American Lives". Volume Two, 1986-1990, pages 549-550. New York: Charles Scribner's Sons, 1999.
Wrote in his autobiography that he was offered the chance to direct My Fair Lady (1964), but the offer was withdrawn when he suggested that some scenes be shot on location in London.
Won the 1950 Pulitzer Prize for Drama for the musical, "South Pacific", collaborating with Richard Rodgers and Oscar Hammerstein II.
With Bretaigne Windust and Charles Crane Leatherbee, founded the University Players theatre group at Princeton University, Princeton, New Jersey. [1932]
Directed José Ferrer in his first major role, the title role in Charley's Aunt. He was subsequently called on by Ferrer to act as a "play doctor" in his first production of Cyrano de Bergerac in 1946. Mel Ferrer was directing, but so openly despised the play that he had inserted several absurd bits of staging in order to downplay the more sentimental aspects. Logan removed all of these, and the result was Ferrer's best-known role.
Father of Tom Logan and Susan Logan.
"South Pacific" in a Lincoln Center Theater production at the Ahmanson Theatre in Los Angeles, California was awarded the 2011 Back Stage Garland Award for Production.
"South Pacific" in a Lincoln Center Theater production at the Ahmanson Theatre in Los Angeles, California was awarded the 2010 Los Angeles Drama Critics Circle McCulloh Award for (Shows Written between 1920 and 1980).
At 25 he made his Broadway debut as a director with 'Borrowed Time'.
Educated at Princeton University where a fellow classmate was James Stewart. who influenced his interest in the theatre but he found himself confined to backstage activities which would contribute to his producing.

Personal Quotes (3)

[on Marilyn Monroe] As near genius as any actress I ever knew.
[As a perfectionist who strove for naturalism among his actors] When people tell me the direction was wonderful, I know I've failed. The audience should be entranced, hypnotized, transported like children listening to a fairy tale. The individual actor, playwright, or director who breaks the spell by drawing attention to himself and crowing 'See how clever I am!' is a crook.
Not since Attila the Hun swept across Europe, leaving five hundred years of total blackness, has there been a man like Lee Marvin.

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