Romulus Linney, Signature's First Resident Writer, Will Get Off-Broadway Venue in His Name

News   Romulus Linney, Signature's First Resident Writer, Will Get Off-Broadway Venue in His Name
When Signature Theatre Company opens its new Frank Gehry-designed three-venue headquarters on West 42nd Street in early 2012, one of its theatres will be named for late alumni writer Romulus Linney.

Romulus Linney
Romulus Linney

The New York Times reported on Sept. 22 that The Romulus Linney Courtyard Theater will be a 199-seat theatre with flexible seating configurations. As previously announced, the not-for-profit company known for focusing on the career body of work of one living playwright per season (starting with Linney back in 1991) will also have a 299-seat theatre and a 199-seat theatre, to be used for its many avenues of programming.

Athol Fugard is the 2012 "signature" playwright in residence, but the company will also produce new work by alumni, revivals by alumni and new plays by a clutch of resident playwrights including Kenneth Lonergan and Katori Hall.

Signature Center, opening in February 2012, will span the entire block on 42nd Street between Dyer and 10th Avenue. It's the largest non-profit performing arts center to be built in New York since Lincoln Center opened more than 50 years ago.


Linney, a respected playwright who wrote dozens of plays on a wide variety of subjects over a multi-decade career, and who achieved a different sort of fame in later years as the father of actress Laura Linney, died Jan. 15 at his home in Germantown, NY. He was 80. Linney never achieved the status of household name, but in theatre circles he was considered a writer's writer, the kind of steady intellectual talent who is routinely referred to as unsung. James Houghton, the founder of the Signature Theatre Company, which devotes each season to the work of a single playwright, felt so strongly about Linney's oeuvre that he devoted the troupe's inaugural 1991 season to his plays.

The plays featured in that line-up are illustrative of Linney's wide-ranging interests. The Sorrows of Frederick told the story of Frederick the Great, the 18th-century King of Prussia, who grappled with the legacy of his father. Ambrosio was adapted from Matthew Lewis' 18th-century gothic novel about the various temptations of a monk. FM was about a prim college writing professor enthralled by the primitive genius of a wild student. A Woman Without a Name told the Job-like story of a small town American woman in 1900 upon whom countless troubles are heaped. The role and function of religion often played a central role in his dramas, with a number of plays features priests and nuns as characters. The vagaries of love was another common theme.

His daughter, Laura, told the New York Times earlier this year, "I could call and say: 'I don’t understand Shaw. What’s going on?' And he could tell me. And he loved to tell me. It's what connected us."

He often drew on history for inspiration, with unorthodox meditations on historical figures a sort of specialty. He wrote plays about August Strindberg, Oscar Wilde, Torquemada and Delmore Schwartz. Child Byron took as its subject the poet Lord Byron and his daughter. And 2 examined Nazi war criminal Herman Goering.

Many of his plays were one-acts, and he found a regular home at the Ensemble Studio Theatre, which produced an annual one-act festival. Among these short works were Akhmatova, April Snow, Ave Maria, Clair de Lune, Goodbye Oscar, Gold and Silver Waltz and Yankee Doodle. His single Broadway production was The Love Suicide at Schofield Barracks, which closed quickly in 1972.

Linney was born in Philadelphia on Sept. 21, 1930, the son of Maitland Clabaugh and Romulus Zachariah Linney III. The classical name of Romulus has a long history in the family; his great-grandfather was Republican Congressman Romulus Zachariah Linney. Linney grew up in the south, in Boone, NC, and Madison, TN. His education brought him north, however, to Oberlin College and the Yale School of Drama, and he remained an East Coaster thereafter. However, he retained an interest in the environs of his youth. Several of his plays dealt with life in Appalachia, including Tennessee, Holy Ghosts, Sand Mountain, Gint and Heathen Valley.

In many ways, he was a man in the model of the thoughtful, serious-minded, literary strivers that populated the cafes and bars of New York in the 1950s and early 1960s. As such, he made his occasional sallies in fiction, writing the novels "Slowly," "By They Hand Unfurled," "Heathen Valley" (later turned into a play) and "Jesus Tales."

But it was for his plays that he became best known. He won two Obie awards, one for sustained excellence in playwriting; two National Critics Awards; three Drama-Logue Awards, and many fellowships, including grants from the Guggenheim and Rockefeller Foundations. He was a member of the American Academy of Arts and Letters which, among other awards, gave him The Gold Medal for Drama.

He had recently been working with composer Scott Wheeler on an opera adaptation of Frederick commissioned by the Metropolitan Opera and Lincoln Center Theatre.

Linney’s first two marriages, to Ann Leggett and Margaret Jane Andrews, ended in divorce. He is survived by his wife, Laura Callanan, and his daughters Laura Linney and Susan Linney.

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