Cleveland Play House

Frederic McConnell, director of the Cleveland Play House (1938)

In the early 1900s Cleveland theatre featured mostly vaudeville, melodrama, burlesque and light entertainment. In 1915 a select group of ten Clevelanders met in the home of Charles S. and Minerva Brooks to discuss the formation of an Art Theatre. Those present in addition to the Brooks were Walter and Julia McCune Flory, Raymond O'Neil, Ernest and Katharine Angell, Henry and Anna Hohnhorst, George Clisbee, Grace Treat, and Marthena Barrie. Together, they formed Cleveland Play House and named Raymond O'Neil as the Director.[3] Their initial productions were performed in a home donated by Cleveland industrialist Francis Drury located at East 85th and Euclid Avenue. O'Neil was a devotee of the artistic ideals of Edward Gordon Craig, and the Play House's earliest productions reflect this. The founders of the Play House were bohemians and suffragists, and were thus outsiders in conservative Cleveland society. As a result, the Play House in its early years performed for a select group of individuals interested in avant-garde art, rather than the larger community of Cleveland.[4]

The Play House was founded midway through a decade of cultural renaissance in Cleveland. Through a partnership of idealistic vision and philanthropic largess, many of Cleveland's major cultural organizations were formed between 1910 and 1920—Cleveland Music School Settlement, Karamu House, the Cleveland Museum of Art, the Cleveland Orchestra, the Cleveland Institute of Music and the Cleveland Museum of Natural History.

After moving through several facilities in its first two years, the Play House purchased and renovated a church at Cedar Avenue and East 73rd Street, and opened the Cedar Avenue Theatre in December 1917. The new facility seated 160 and marked a turn toward professionalism. Soon after this, the Play House began to struggle financially, and the Board of Directors became increasingly dissatisfied with Raymond O'Neil's leadership. The resulting arguments led to O'Neil's resignation in 1921.[5] The Board subsequently hired Frederic McConnell as the next Director, along with his associates K. Elmo Lowe and Max Eisenstat as assistants. The three transformed CPH into a popular regional theatre, ushering in a long era of growth and prosperity.[6]

A new Cleveland Play House facility, built in 1927, housed the Brooks Theatre and the Drury Theatre. To accommodate its growth, CPH in 1949 opened the 77th Street Theatre in a converted church, which featured America's first open stage – the forerunner of the thrust stage that was popularized in the 1950s and 1960s. In the 1980s, the 77th Street Theatre was closed, Cleveland Play House purchased the Sears building and the world-renowned architect Philip Johnson designed significant additions for the complex, including the Bolton Theatre. With the 1927 buildings, the Sears building and the Johnson buildings taken together, the complex for CPH became the largest regional theatre complex in the country.

In 2009, through a collaboration called "The Power of Three," CPH partnered with Playhouse Square and Cleveland State University to create the new Allen Theatre Complex in downtown Cleveland. In July 2009, CPH sold its building at 86th Street and Euclid Avenue to Cleveland Clinic. In September 2011, CPH kicked off its 96th consecutive season in the transformed Allen Theatre at Playhouse Square. Two new venues adjacent to the Allen Theatre came on board in January 2012, the Second Stage (renamed the Outcalt Theatre in 2014) and the Helen Rosenfeld Lewis Bialosky Lab Theatre. A new production center is now located along the lakeshore in Cleveland, and administrative offices and education center are on East 13th Street.

The list of plays and playwrights that have had premiers at Cleveland Play House is impressive, the most notable being Tennessee Williams' You Touched Me, and Bertolt Brecht's Mother Courage. Other notable premiers include The Pleasure of Honesty by Luigi Pirandello, Simone by Ben Hecht, Translations by Brian Friel, A Decent Birth by William Saroyan, Command by William Wister Haines, Ten Times Table by Alan Ayckbourn, The March on Russia by David Storey, The Archbishop's Ceiling by Arthur Miller, First Monday in October by Jerome Lawrence and Robert E. Lee, Lillian by William Luce, The Cemetery Club by Ivan Menchell, The Effect of Gamma Rays on Man-in-the-Moon Marigolds by Paul Zindel, Jerusalem by Seth Greenland, The Smell of the Kill by Michele Lowe, and Bright Ideas by Eric Coble. Cleveland Play House continues to have a strong commitment to new works, especially those written by Ohio playwrights. The current policy for submission of new plays only permits unsolicited works to be submitted by playwrights who currently reside in the state of Ohio.

At least one mainstage production in each season is a new play.