The American Theatre Wing, one of Broadway’s longest-running institutions, has a dapper new chairman — William Ivey Long, the celebrated costume designer of such shows as “Chicago,” “Hairspray” and “The Producers.”
Long is the first working theater artist — or “artiste, with an e!,” as he likes to say — to head up the Wing since Helen Hayes, who chaired the nonprofit organization from 1950 to 1957.
And he’s the first chairman since Hayes to be an actual Tony winner.
The American Theatre Wing owns the copyright on the Tonys and collects a seven-figure fee every year from CBS, which airs the Tony telecast.
Long — or “Mr. Chairman,” as I like to call him — has, in fact, five Tonys, compared to Hayes’ three.
But as he’s quick to point out: “She has a theater, and I don’t!”
Long’s appointment is a smart move by the Wing. A fixture at openings and Theater District restaurants, he’s popular around Broadway, adored for his quick wit, natty blue blazers and Southern charm. At a cocktail party celebrating his appointment, The Chairman buzzed around the room, making introductions, cracking jokes and ensuring that everyone had a fresh drink.
When the Wing first approached him, “I really thought they wanted me to help decorate for the annual gala,” he said. “I am, you know, good with fabrics.”
The prospect of being chairman was “scary,” he says, “but I did my due diligence. I learned that for the last three years, the theater has grossed over $1billion, and if you add all the ancillary earnings, it’s $9 billion. Who doesn’t want to be in on something like that?!”
Founded as part of the relief effort during World War II, the American Theatre Wing opened the legendary Stage Door Canteen on West 44th Street to entertain the troops.
The Wing created the Tonys in 1947 to celebrate “excellence in the theater.”
The reputation of the Wing, whose primary purpose is to promote arts education, has been up and down. For a long time, it was seen as an organization for rich ladies who like the theater. More recently, with its powerful board of directors, it’s become an influential player on Broadway.
The Tonys have been controversial as well. Critics carp that an award meant to honor “excellence” in theater has become a box-office marketing tool.
The Chairman takes this view: “It’s called show business. That’s William Ivey Long’s opinion. It’s not called show art. But vigilantes are welcome in certain areas. It’s a question of who’s a vigilante and who’s just being pompous. Everything has to be balanced.”
Long is in a good position to do that. He’s made millions from his hit Broadway shows, but his background is in academic theater. His father ran a college theater department in South Carolina, and his mother taught high school drama. He knows his Shakespeare and his Shaw, his Ibsen and his Pirandello.
He’s also a shrewd navigator through what he calls “the jungle” of Broadway — a skill that will come in handy in his very political position.
“I’ve been fascinated by the jungle for years,” he says. “Fran and Barry Weissler call me their house designer, and who better to guide you through the jungle?”
The Weisslers, whose credits include “Chicago,” are two of the toughest and shrewdest producers around.
Long already has some big plans, one of which is reviving the Stage Door Canteen.
“I come from the South,” he says, “and we always support our troops. We all have problems supporting wars, but we always support our troops.”
And he’ll keep a vigilant eye on the Tonys to make sure commercialization doesn’t get too carried away. Royal Caribbean Cruise Lines sponsored this year’s telecast, insisting that CBS broadcast a scene from a non-union cruise ship production of “Hairspray.”
What’s next? The entire Tony telecast broadcast from a boat somewhere between Fort Lauderdale and the Bahamas?
Says The Chairman: “We’re going back to the table on this one.”