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When he was 11, he wanted to be a comedian like Sid Caesar. Then, when he was 15 and saw Lee J. Cobb in 'Death of a Salesman,' he decided he would be a comedy actor and found that Mel Brooks was a great influence on his screen writing. He combined both talents with directing in The World's Greatest Lover (1977), followed by The Adventure of Sherlock Holmes' Smarter Brother (1975).

Earl Hindman was an American actor from Arizona. His most famous role was that of helpful neighbor Wilson W. Wilson, Jr. in the popular sitcom "Home Improvement" (1991-1999). The series lasted for 8 seasons, and a total of 204 episodes.

In 1942, Hindman was born in Bisbee, Arizona, which at the time was a mining city. Bisbee was established in 1880, as a settlement for copper, gold, and silver miners. The city became the county seat of Cochise County in 1929. Hindman's parents were Burl Latney Hindman and his wife Eula. His father worked in the oil pipeline business.

Hindman studied acting at the University of Arizona. He made his film debut in the exploitation film "Teenage Mother" (1967), at the age of 25. His early films included the mystery film "Who Killed Mary What's 'Er Name?" (1971), and the political assassination-themed thriller "The Parallax View" (1974). He played the hijacker code-named "Mr. Brown" in the action thriller "The Taking of Pelham One Two Three" (1974).

Hindman next found a regular role in television, playing police lieutenant Bob Reid in the soap opera "Ryan's Hope" (1975-1989). He was a regular in the series from 1975 to 1984, and then was written out. He returned to the series in 1988 and remained until its end in 1989. The series was canceled due to its steady decline in Nielsen numbers. In total, it lasted for 13 seasons and 3,515 episodes.

Hindman was featured as race-car driver Beau Welles in the biographical film "Greased Lightning" (1977), depicted as the main rival to protagonist Wendell Scott (played by Richard Pryor). The film was loosely based on the life of Wendell Scott (1921-1990), the first African-American to win a race in the Grand National Series, NASCAR's highest level.

Hindman was reduced to minor roles in film for the duration of the 1980s, with the exception of playing gunfighter J.T. Hollis in the Western film "Silverado" (1985). In television, he played Lt. Commander Wade McClusky in the miniseries "War and Remembrance" (1988-1989). His career experienced a revival when cast as a regular character in "Home Improvement". In the series, his character Wilson W. Wilson, Jr. would regularly offer advice to protagonist Timothy "Tim" Taylor (played by Tim Allen), As a running gag, Wilson's face remained hidden from the audience.

Following the series' cancellation, Hindman mostly appeared in guest star roles in television series, such as "Law & Order" and "Law & Order: Criminal Intent". Meanwhile his health declined. Hindman was a longtime smoker, and was diagnosed with lung cancer. He died due to the disease in December 2003, at the age of 61.

Hindman died in Stamford, Connecticut, and was buried there in Roxbury Cemetery. He was survived by his wife, actress Molly McGreevey. McGreevey died in 2015.

Above all else, singer/actress Peggy Wood has endeared herself to both TV and film audiences with one single role in each medium. She made warm, lasting impressions as the benevolent, strong-willed Scandinanvian matriarch Marta Hansen in the series drama Mama (1949), and as the knowing Mother Abbess who gently but firmly steers Julie Andrews' novice away from the nunnery and into the arms of love and a certain Austrian captain with her stirring rendition of "Climb Every Mountain" in, what is arguably considered the most popular musical film ever made, The Sound of Music (1965). But Peggy was so much more than those two undeniable treasures. Encompassing a stage career that lasted six decades, Peggy was unequivocally one of the grand dames of Broadway and London theatre, heightened by the fact that writer Noël Coward wrote some of his strongest pieces with her in mind.

Brooklyn-born Peggy was christened Margaret Wood on February 9, 1892, the daughter of a popular newspaperman and humorist. The lovely blonde soprano began taking singing lessons at age 8 and made her debut as a teenager in the chorus of "Naughty Marietta" (1910). Within a year, she took her first her Broadway bow in "The Three Romeos" (1911) and grew in status after drawing strong applause for her lead ingenue debut in "Maytime" in 1917 while introducing the song "Will You Remember?" The blossoming performer went on to excel prominently in musicals/operettas, including "Buddies" (1919), "Marjolaine" (1922), and "The Clinging Vine" (1922), before making equally respectable ventures into witty comedy (the title role in George Bernard Shaw's "Candida" (1925) and "A Lady in Love" (1927)) and Shakespeare (Portia in "The Merchant of Venice" (1928)).

A quiet beauty who projected little sex appeal, she was naturally not a strong contender for Hollywood stardom but made her feature film debut anyway in the silent movie Almost a Husband (1919) opposite humorist Will Rogers. She never made another silent picture. Along with her first husband, poet, and literary editor John V.A. Weaver, she was a member of the New York "intellectual" circuit and the well-chronicled Algonquin (restaurant) Round Table. Noël Coward wrote Peggy's "Bitter Sweet" role specifically for her. She originated the part in London's West End in 1929 and introduced the song "I'll See You Again." While in London, she also appeared in Jerome Kern's "The Cat and the Fiddle" (1932) with Francis Lederer, wherein she sang the popular "Try to Forget," and complemented Coward once again in the musical "Operette" (1938) with her renditions of "Where Are the Songs We Sung" and "Dearest Love." In 1941, Peggy again inspired Coward, this time playing the role of second wife Ruth Condomine in the New York premiere of "Blithe Spirit" with Clifton Webb, and then took the show to the Piccadilly Theatre in London. During World War II, she also lent her singing talent patriotically with several USO tours.

She returned to films in mid-career and co-starred without much fanfare in Handy Andy (1934) playing Will Rogers' nagging wife, The Right to Live (1935), Jalna (1935) and Call It a Day (1937). Following her supporting work in The Bride Wore Boots (1946), Magnificent Doll (1946) and Dream Girl (1948), she was ignored in films until handed the roles of Naomi in the biblical drama The Story of Ruth (1960) and her Oscar-nominated Mother Abbess.

A master dialectician who handled many ethnic roles during her long career, she became one of early TV's critically-acclaimed "Golden Age" stars with the Norwegian family drama Mama (1949) and was Emmy-nominated twice for her efforts. She also continued on the 50s and 60s stage with roles in "Charley's Aunt", "The Girls in 508" with Imogene Coca, "The Rape of the Belt", "Pictures in the Hallway" and "The Madwoman of Chaillot", which would be one of her last stage shows in 1970. From 1959 to 1966, she served as President of ANTA (American National Theatre and Academy).

Peggy married and was widowed twice. Her first husband died of tuberculosis at age 44 and her second, William Walling, an executive in the printing business, died in 1973 after 32 years. Peggy herself, at age 86, died of a cerebral hemorrhage in Stanford, Connecticut, on March 18, 1978, and was survived by her son, David Weaver, who once assistant stage managed one of her Broadway plays "The Happiest Years".

Musical theater devotees will undoubtedly know that the song "Let Me Entertain You" was from the classic musical "Gypsy", the born-in-a-trunk story of resilient kid troopers Gypsy Rose Lee and June Havoc who were mercilessly pushed into vaudeville careers by an unbearably headstrong mother. While the lesser-talented Gypsy, of course, became the legendary ecdysiast who turned stripping into an art form, sister June survived her "Baby June" vaudeville child days of old and the tougher road of Depression-era dance marathons to become a reputable actress of stage, screen and TV, among other things. While June may have immortalized in "Gypsy," based on her older sister's memoirs, it was a bittersweet notoriety as she felt it was a very unjust, hurtful and highly inaccurate portrait of her. It also caused a deep rift between the sisters that lasted for well over a decade.

The Canadian-born actress (she was born in Vancouver, not Seattle) entered the world in 1912 (some sources insist 1913 or 1916, but Havoc confirmed her true birth date in 2006), the younger daughter of audacious "stage mother" Rose Thompson Hovick and her husband, John Olaf Hovick, a cub reporter for a Seattle newspaper. Baby June was primed for stardom by Rose by age 2 and was soon dancing with the great ballerina Anna Pavlova and appearing in Hal Roach film shorts (1918-1924) with Harold Lloyd. A flexible, high-kicking vaudeville sensation at 5, she was featured front-and-center in an act completely built around her ("Dainty June and Her Newsboys"). Earning around $1,500 a week at her peak, the delightful child star had audiences eating out of the palm of her little hand while sharing the stage with the likes of "Red-Hot Mama" Sophie Tucker and "Baby Snooks" Fanny Brice. The unrelenting pressures and suffocating dominance of her mother, however, led to a capricious elopement at age 13 with a young boy from the act (Bobby Reed, who inspired the dancing character of Tulsa in "Gypsy"). They married in North Platte, Nebraska with each lying about their age. By the time the Depression hit, however, vaudeville, the nation's economy and her marriage had all collapsed.

Now a mother of a young daughter, April (born out of wedlock in 1930, April Kent acted briefly in the 1950s and died of a heart attack in 1998), June made ends meet by modeling, posing and toiling in dance marathons. The blonde, blue-eyed stunner also found work in stock musicals and on the Borscht Belt circuit. She made her Broadway debut in the musical "Forbidden Melody in 1936". Years passed before she earned her big break as Gladys in Rodgers and Hart's classic musical "Pal Joey" opposite Van Johnson and Gene Kelly in 1940. As a result of their scene-stealing work, the trio earned movie contracts - the two men heading off to the MGM studio and June to RKO.

Unlike her male counterparts, June found herself inextricably caught up in "B" level material. Her film debut in the war-era Four Jacks and a Jill (1942) was followed by the equally ho-hum Powder Town (1942) and Sing Your Worries Away (1942), neither requiring much in the line of acting. Her personality was big for the screen due to her broad vaudeville background, but she nevertheless could show some true grit and talent on occasion, particularly with her support role in My Sister Eileen (1942).

For the next few years she experienced both highs and lows. Her Broadway shows were either hits, such as the musical "Mexican Hayride" (1944) (for which she won the Donaldson Award), and the dramatic "The Ryan Girl" (1945), or complete misses, which included a musical version of the Sadie Thompson saga Rain. June's film acting continued to be a stumbling block, scoring best when asked to play brassy, cynical dames. While she fared well as the femme fatale in Intrigue (1947), the racist secretary in Gentleman's Agreement (1947), and the gun moll The Story of Molly X (1949), more often than not, she was handed second-rate fodder to flounder in such as The Iron Curtain (1948), Once a Thief (1950) and Follow the Sun (1951). She appeared on TV in the early 50s, and she received her own short-lived vehicles as a lawyer in Willy (1954) and as host of her own show The June Havoc Show (1964).

After completing her last film Three for Jamie Dawn (1956), June refocused on stage and TV - particularly the former. She earned some of her best reviews both here and abroad in later years: Titania in "A Midsummer Night's Dream," Mistress Sullen in "The Beaux' Stratagem," Sabina in "The Skin of Our Teeth," Millicent in "Dinner at Eight," Jenny in "The Threepenny Opera," Mrs. Swabb in "Habeas Corpus," and Mrs. Lovett in "Sweeney Todd". In 1982 she pulled out all the stops on Broadway and gave a real Rose's Turn as a Miss Hannigan replacement in "Annie".

June expanded her talents to include both playwriting and directing. In addition to "I Said the Fly," she wrote "Marathon '33" (based on her Depression-era struggles) and received a 1964 Tony nomination for directing the play. June became the artistic director of the New Orleans Repertory Theatre in 1970, and later went on tour with her own one-woman show "An Evening with June Havoc". On stage and broaching age 80, the never-say-die actress appeared in a production of "Love Letters" and "An Old Lady's Guide to Survival".

June's mid-career biography "Early Havoc" was published in 1959. Married three times (her last husband, producer/director/writer William Spier died in 1973), June was long estranged from her sister, none too happy with Gypsy's portrayal of her in the best-selling memoir, "Gypsy" and equally dismayed of her Baby June character in the smash musical hit. The girls, noted for their trademark elongated faces and shapely gams, were estranged as children as well, but eventually patched things up for a time as adults. The sisters didn't truly grow close until Gypsy told June that she was dying of lung cancer in 1970. June elaborated more about her relationship with her sister in her second autobiography, "More Havoc" in 1980.

Ms. Havoc died peacefully on March 28, 2010, at her home in Stamford, Connecticut of natural causes. She was 97 years young.

Fredi Washington was a pioneering African-American actress whose fair skin and green eyes often were impediments to her showing her extraordinary acting skills. Her talent was often overlooked because of people's obsession with her race and color. In the few films in which she acted her enormous talent as an actress couldn't be hidden.

Her first film performance was with Duke Ellington in a musical short, Black and Tan (1929), as a dancer. In Hollywood she was urged to "pass" for fully white by studio heads, who said they would make her a bigger star than Norma Shearer, Joan Crawford, Constance Bennett and Greta Garbo. Fredi refused. Her best-known role was as the original Peola, in the controversial film Imitation of Life (1934). She appeared with Paul Robeson in The Emperor Jones (1933) and in a few other films with her skin darkened. Her best work was on the stage, notably in "Mamba's Daughters" with Ethel Waters. Fredi never made it to the top like her contemporaries Waters, Josephine Baker, and Nina Mae McKinney because she didn't look "black" enough. But Fredi had what it took, as is more than evident in the few films that she did do.

Her best work was as an activist. She was the head of the Negro Actors Guild, helping black performers get a fair chance in the entertainment industry. Hopefully, people who discover her work today will see her beauty and talent shine through and look beyond her skin color, unlike most people of her time.

Libby Holman's life was one of early poverty, extraordinary talent, scandal, fabulous wealth and tragedy. She's the stuff books and movies are ripe for. Born into a once-prosperous Jewish family in Ohio, her family's stock brokerage business collapsed in 1904 when her uncle disappeared after embezzling nearly $1 million, leaving her innocent father scandalized and bankrupt. Her mother raised her three daughters in anger over their loss of wealth and position, undoubtedly affecting Libby's ambitious nature.

Primarily known today as a Broadway actress and torch singer of the 1920s-30s, Libby got her start in the theater by touring in "The Fool." The author of the play, Channing Pollock, recognized her talent and advised her to drop out of college and pursue a theatrical career. Joining the Theatre Guild, in 1925 she appeared in the chorus of "The Garrick Gaieties" before gaining notice in "The Greenwich Village Follies" the following year. She continued to appear in "Merry-Go-Round" (1927), "Rainbow," (1928) and "Ned Wayburn's Gambols" (1929). Libby appeared with Clifton Webb in "The Little Show" (a big 1929 hit; Libby singing "Moanin' Low", becoming one of her earliest trademark songs) and "Three's A Crowd" (1930; Libby introducing the standard, "Body and Soul"), which made them both top-ranked musical stars. Her early breakthrough successes would result from her associations with Howard Dietz, one of her greatest benefactors, and Clifton Webb, who complimented her on stage. She and Webb remained longtime friends but ultimately had a falling out of sorts after 1938.

Libby was exceedingly complex. Bisexual, she preferred the company of gay men, but two of the three most significant intimate relationships of her life were with avowed lesbians, the equally fascinating unconventional DuPont heiress Louisa d'Andelot Carpenter Jenny (from 1929) and later, with writer Jane Auer Bowles (from the mid-1940s). However, she periodically sought out men (often sexually conflicted, as with her third most important relationship, actor Montgomery Clift) invariably far younger than herself, only to summarily cast them aside on the basis of some seemingly insignificant slight. She was a fascinating confluence of allure, talent and vanity, masked with a droll sarcastic wit capable of rivaling that of society columnist Lucius Beebe, Robert Benchley, Dorothy Parker or Noël Coward, all of whom were in her social circle. Although she wasn't conventionally beautiful, audiences were drawn to her by her voice and stunning figure (she reputedly invented the strapless evening gown, it becoming one of her trademarks). She could have easily succeeded in Hollywood after the advent of talkies, but was decidedly "East Coast", sharing her clique's snobbish disdain for film (although many of them would eventually relent and go on to gain immortality in Hollywood) and harboring some inner insecurity over her looks. To a large degree, however, Libby thrived on the immediate rewards of a live audience, which she could wrap around her little finger with any one of her sexually charged smoky torch songs.

One smitten fan was tobacco heir Zachary "Smith" Reynolds, who caught her act on a lark and spent a fortune following her around the world. As the youngest son of tobacco magnate R.J. Reynolds, the 20-year-old playboy was the real-life "Roaring '20s" manifestation of a character, drawn straight from an F. Scott Fitzgerald novel. He had complete disinterest in the family business, an inexhaustible allowance and a volatile temper. Smith, whose one real accomplishment was learning how to fly, also owned a plane, and he literally stalked Libby with it. He wore the 27-year-old singer down and, encouraged by Louisa (herself briefly married) who saw him as a convenient veil of wealth and propriety, Libby married him in 1931. Their marriage was a clash of wills, however; Smith wanted her to leave Broadway and she had no intention of doing so. They agreed on a one-year sabbatical at the family's vast North Carolina estate, Reynolda. Libby, who was born into poverty had always aspired to be wealthy, quickly grew tired of the kind of idle life expected of her. She invited a stream of her flamboyant theatrical friends to the estate and they clashed headlong with the conservative Reynolds family. There were accusations of lesbianism and hedonism that her in-laws could barely stomach. In 1932, over the family's annual alcohol-fueled July 4th holiday party held at the estate, she told her husband she was pregnant and there was reportedly a tense confrontation - stories differ, but there was a gunshot and Libby and Ab Walker (whispered to be her lover), a close friend of Smith's, were indicted for murder. Fearing scandal over their son's activities, the intensely secretive Reynolds family persuaded local authorities to drop the charges; the death was ruled a suicide. The scandal stuck to Libby and her career suffered. Her son Christopher (or "Topper", as she called him) received a large inheritance and Libby received a sizable maintenance agreement that left her independently wealthy for the rest of her life. After the Reynolds debacle was legally settled, Libby and her son went to live with Louisa (who herself had adopted a daughter) and the couple lived openly throughout the remainder of the 1930s in what was then called a "Boston Marriage" in local gossip. Their relationship eventually changed, but Louisa would remain a lifelong friend and confidant. Libby also continued to pursue a Broadway career, with ever-diminishing returns. Despite her undeniable talent, she was keenly aware that producers hired her in hopes that her scandalized personal life would increase the box office. One of her most ardent supporters during this period was the unabashedly gay Herald-Tribune columnist Lucius Beebe, who never missed an opportunity to document her moves within New York's café society, always portraying her in the best possible light. His support of her came as a welcome relief during this first dark period of her career, although she certainly didn't need the money.

From the early to mid-'30s she gained dramatic experience in 'Jasper Deeter''s Hedgerow Theatre and returned to Broadway in "Revenge With Music," (1934; singing "You and the Night and Music") along with performing in nightclubs in New York and London. Despite her excellent performances, the Reynolds scandal dogged her and she was often hissed and booed. She received star billing (singing the title song as Mme. Baltin/Jeanne Montaigne) in the 1938 Cole Porter musical flop, "You Never Know" with Clifton Webb, Lupe Velez (whom she despised) and Toby Wing. Not content to live the life of the typical millionaire grand dame, she became a yoga enthusiast and financed experimental theater (1942's "Mexican Mural" starring one of her obsessions, Montgomery Clift, who would become a lifelong friend and infrequent lover), continued to sing and record smoky torch songs. She traveled extensively and was unhappily married two more times (her second husband, sometime-actor Ralph Holmes or "Rafe" to his friends, committed suicide shortly after returning from duty in WW II; her third husband survived her) and adopted two sons. In the mid-40s she met writer Jane Auer Bowles and their attraction was immediate. The unconventionally married writer, married openly homosexual author Paul Bowles ("The Sheltering Sky"), shared Libby's disdain for their common Jewish heritage -- another one of Libby's psychological quirks -- and, as in the case of Louisa, lived together openly. Enamored by the blues, she caused a stir in the 1940s nightclub scene by touring with famed black guitarist Josh White (ironic, given her sexual ambivalence toward men in general). Together they appeared in her sole IMDB film credit, the experimental and aptly-yet-coincidentally named, Dreams That Money Can Buy (1947) in 1947.

Tragically, her son died with a friend climbing California's Mt. Whitney in 1950. She channeled her grief into a foundation dedicated to promoting racial understanding and equality. She continued to record and perform in a one-woman show, "Blues, Ballads and Sin Songs" with pianist Gerald Cook into the 1950s. Although she could still belt out a tune, her later renditions of her standards were seldom recorded and are not generally well known today, having been banned on the radio for decades due to their sexual overtones. She fell into a deep depression in 1957 and broke out of it by taking courses in Zen Buddhism at the New School, and through a mutual friend met an art teacher and sculptor, Louis Schanker. The two met infrequently over the next few weeks before seeing each other on a regular basis. Whatever attracted Libby to him eluded her friends. Schanker was older than Libby--uncharacteristically for her--and, despite having a reputation as an important abstract expressionist, he was unworldly, inarticulate and not exactly handsome. In fact, during most of their courtship he was living with a much younger woman. For her part, Libby seemed to be living in fear that this was her last chance at love, and sought someone to anchor her life; companionship, on her terms. His entry into wealth by marriage stifled whatever artistic ambitions he possessed. His standing in the art world quickly evaporated, he increasingly drank and clashed with her teenage sons. It was an unhappy marriage, but one that would take. The 1960s were marked by Schanker's banishment of most of her old friends (like her previous husbands, he banned homosexuals from their homes and was intensely jealous of anyone she ever slept with, male or female), Jane Bowles' debilitating stroke and the assassination of Dr. Martin Luther King, whom she and her foundation actively supported, affected her deeply. Increasingly emotionally isolated from her friends and depressed, Libby sank into alcoholism after 1968. Sadly, she herself committed suicide in June, 1971, found slumped over in her Rolls-Royce at her Connecticut mansion. Coretta Scott King attended her funeral. Jane Bowles, blind and schizophrenic, died in a sanitarium in 1973 and Louisa was killed flying her private plane on February 8, 1976.

Jackie Robinson is an American professional baseball player who became the first African American to play in Major League Baseball (MLB) in the modern era. Robinson broke the baseball color line when he started at first base for the The Brooklyn Dodgers on April 15, 1947. When the Dodgers signed Robinson, they heralded the end of racial segregation in professional baseball that had relegated black players to the Negro leagues since the 1880s. Robinson was inducted into the Baseball Hall of Fame in 1962.

Ray Aranha was born on 1 May 1939 in Miami, Florida, USA. He was an actor, known for Maid in Manhattan (2002), Die Hard with a Vengeance (1995) and Deconstructing Harry (1997). He was married to Jean Mills and Jean McIntyre. He died on 9 October 2011 in Stamford, Connecticut, USA.

Ezio Pinza was born on May 18, 1892 in Rome, Lazio, Italy as Fortunato Pinza. He was an actor, known for the Broadway play, South Pacific, movies, Mr. Imperium (1951) and Tonight We Sing (1953). He was married to Doris Leak and Augusta Casinelli. He died on May 9, 1957 in Stamford, Connecticut, USA.

James Maxwell Anderson was born in Atlantic, Pennsylvania, on December 15, 1888 to William Lincoln Anderson and Charlotte Perrimela (Stephenson) Anderson. The second child born to the couple, Anderson spent his formative years on his maternal grandmother's farm in Atlantic before the family moved to Andover, Ohio when he was three years old. His father attended a seminary at night to study for the ministry while he supported the family as a railroad fireman.

His father took up the life of a traveling minister, moving his family frequently until Anderson was in his late teens. Anderson attended schools in Ohio, Iowa, North Dakota, and Pennsylvania. The Anderson family's life was a vagabond one until they settled in Jamestown, North Dakota in 1907.

After graduating from Jamestown High School, Anderson went to the University of North Dakota in 1908. He worked his way through college as a waiter and serving on the night copy desk of the newspaper "The Grand Forks Herald." He was a member of the literary society Ad Altiora at UND and helped put together the "Dacotah" Annual. He also participated in college theatrics, serving as assistant director for the Sock and Buskin Dramatic Society.

Graduating with a Bachelor of Arts degree in English Literature in June 1911, Anderson married his UND classmate Margaret Haskett, a farmer's daughter, on August 1, 1911. They eventually had three sons, Quentin, Alan, and Terence.

His first job after college was serving as the principal of the Minnewaukan, North Dakota high school, where he doubled as an English teacher. After making pacifist comments to his students, his contract was not renewed, and he moved to Palo Alto, California, where he enrolled in a master's program in English Lit at Stanford University. After graduating from Stanford in 1914, he spent three years as a high school English teacher in San Francisco before accepting an offer to become chairman of Whittier College's English Department in 1917. Once again he got in trouble with his pro-pacifist statements, and he was fired after his first year for speaking out publicly on behalf of a student seeking conscientious objector status during World War I.

Moving back to San Francisco, he worked as a journalist on the "San Francisco Chronicle" and the "San Francisco Bulletin," then moved to New York City to take an editorial position on the liberal periodical "The New Republic." He continued his work as a newspaperman, becoming a stringer for the "New York Globe" and the New York World." He also found time to help launch the poetry magazine "Measure."

Turning his interest to the theater, he wrote his first play in 1923. Written in verse, "White Desert" was a flop, lasting only 12 performances, but it attracted the attention of "New York World" critic Laurence Stallings. Stallings chose Maxwell as his collaborator on his World War One play "What Price Glory?" Opening on September 3, 1924, the play was one of the stage sensations of the decade, earning kudos and running for 430 performances. The financial rewards of helping create such a big boffo box office blockbuster enabled Anderson to retire from journalism and become a full-time dramatist.

Many of his plays were written in verse, and they typically touch on social and moral problems, such as "Winterset" (1935), which addressed the Sacco & Vanzetti trials in fictional form. The play, which won the first New York Critics Circle Award, is about a gangster who visits the children of the anarchists executed for the murder he himself committed. Anderson won the 1933 Pulitzer Prize for Drama for his play "Both Your Houses," and repeated as the New York Critics Circle Award winner for "High Tor" in 1936. He wrote many historical dramas and two librettos for Kurt Weill, "Knickerbocker Holiday" (1938) and "Lost in the Stars" (1940). He was also a lyricist, his most famous creation being "September Song" from "Knickerbocker Holiday."

His plays included "Elizabeth the Queen" (1930), "Mary of Scotland " (1933), "Key Largo" (1939); "Truckline Café" (1945), "Joan of Lorraine" (1946), "Anne of the Thousand Days" (1947), and "The Bad Seed" (1954). Anderson also worked on numerous screenplays, including All Quiet on the Western Front (1930), for which he received an Academy Award nomination, Washington Merry-Go-Round (1932), Rain (1932) , Death Takes a Holiday (1934), and So Red the Rose (1935).

Plays of his that were turned into movies were "Mary of Scotland (1936), "Saturday's Children," which was filmed three times (once as "Maybe It's Love"), Winterset (1936), "Elizabeth the Queen", which became The Private Lives of Elizabeth and Essex (1939), The Eve of St. Mark (1944), Knickerbocker Holiday (1944). Key Largo (1948), "Joan of Lorraine," which became Joan of Arc (1948), The Bad Seed (1956), "The Devil's Hornpipe", which became Never Steal Anything Small (1959), and Anne of the Thousand Days (1969). "What Price Glory?" was made into a silent film in 1926 and was remade by John Ford in 1952.

He published two books of poetry, "You Who Have Dreams" in 1925, and "Notes on a Dream," published posthumously in 1972. Anderson also published two collections of essays, "The Essence of Tragedy and Other Footnotes and Papers" (1939) and "Off Broadway Essays About the Theatre" (1947).

His wife Margaret died on February 26, 1931, and he remarried in 1933, taking Gertrude "Mab" Higger as his second wife. They had a daughter, Hesper, born on August 12, 1934, and when Gertrude died on March 21, 1953, he married Gilda Hazard on June 6, 1954.

Among his many honors were honorary Doctor of Literature degrees from Columbia University in 1946 and the University of North Dakota in 1958, and the National Institute of Arts and Letters' Gold Medal in Drama in 1954.

Maxwell Anderson had a stroke on February 26, 1959 and died two days later in Stamford, Connecticut. His oeuvre included over thirty published plays and over a dozen unpublished ones.

Ann Flood was born on 12 November 1932 in Jamaica, New York, USA. She was an actress, known for Mystic Pizza (1988), The Edge of Night (1956) and Search for Tomorrow (1951). She was married to Herb Granath. She died on 7 October 2022 in Stamford, Connecticut, USA.

William F. Buckley was born on 24 November 1925 in New York City, New York, USA. He was an actor, known for Manufacturing Consent: Noam Chomsky and the Media (1992), ...and Then There's Claude. (2009) and Rowan & Martin's Laugh-In (1967). He was married to Patricia Aldyen Austin Taylor. He died on 27 February 2008 in Stamford, Connecticut, USA.

Alan Kalter was born on 21 March 1943 in Brooklyn, New York, USA. He was an actor, known for Commander USA's Groovie Movies (1985), Late Show with David Letterman (1993) and USA Saturday Nightmares (1986). He was married to Margaret (Peggy) Masterson and Carol Beverly Cepler. He died on 4 October 2021 in Stamford, Connecticut, USA.

Herman Raucher was born on 13 April 1928 in Brooklyn, New York City, New York, USA. He was a writer, known for Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness? (1969), Summer of '42 (1971) and Sweet November (2001). He was married to Mary Kathryn Martinet-Raucher. He died on 28 December 2023 in Stamford Connecticut, USA.

Kenny Delmar was born on 5 September 1910 in Boston, Massachusetts, USA. He was an actor and writer, known for It's a Joke, Son! (1947), King Leonardo and His Short Subjects (1960) and Orphans of the Storm (1921). He was married to Alice Cochran (artist/painter). He died on 14 July 1984 in Stamford, Connecticut, USA.

Theoni V. Aldredge was born on 22 August 1922 in Thessaloniki, Greece. She was a costume designer, known for The Great Gatsby (1974), Addams Family Values (1993) and Ghostbusters (1984). She was married to Tom Aldredge. She died on 21 January 2011 in Stamford, Connecticut, USA.

Rosemary Rice was born on 2 May 1925 in Montclair, New Jersey, USA. She was an actress, known for Mama (1949), The Edge of Night (1956) and Kraft Theatre (1947). She was married to John B. Merrell. She died on 14 August 2012 in Stamford, Connecticut, USA.

Glen MacDonough (1870 - 1924) was an American author and composer, best known as the librettist of Victor Herbert's operetta, Babes in Toyland, and a lyricist for L. Frank Baum's The Wizard of Oz . He was also one of the nine founders of ASCAP (American Society of Composers, Authors, and Publishers). MacDonough was born into show business, he was the son of theater manager Thomas B. MacDonough and actress/author Laura Don. Glen MacDonough wrote continuously until the year before his death in Stamford, Connecticut, in 1924. His last work was in 1923, Within Four Walls, a play.

Travis was born on 21 October 1995 in Festus, Missouri, USA. He died on 16 February 2009 in Stamford, Connecticut, USA.

Francis Compton was born on 4 May 1885 in Malvern, Worcestershire, England, UK. He was an actor, known for Witness for the Prosecution (1957), The DuPont Show of the Month (1957) and The Alcoa Hour (1955). He was married to Mary Wetmore Wells. He died on 17 September 1964 in St. Joseph's Hospital, Stamford, Connecticut, USA.

Frank Porretta was born on 4 May 1930 in Detroit, Michigan, USA. He was an actor, known for Song of Norway (1970), Folio (1955) and The New Adventures of Robin Hood (1997). He was married to Roberta Palmer. He died on 23 April 2015 in Stamford, Connecticut, USA.

Anna-Lisa Raymundo was born on 11 September 1970 in New York, USA. She died on 8 November 2002 in Stamford, Connecticut, USA.

Jack Beers was born on 27 July 1910 in New York City, New York, USA. He was an actor, known for A Stranger Among Us (1992), The Zimmers: When You're Smiling (2008) and Holes in My Shoes (2006). He was married to Tilly and Bertha. He died on 14 July 2009 in Stamford, Connecticut, USA.

Gloria Shayne was born on 4 September 1923 in Brookline, Massachusetts, USA. She was married to William M Baker and Noel Regney. She died on 6 March 2008 in Stamford, Connecticut, USA.

Mary Streep was born on 30 July 1915 in Connecticut, USA. She was an actress, known for Heartburn (1986). She was married to Harry William Streep, Jr.. She died on 29 September 2001 in Stamford, Connecticut, USA.