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Marvin Neil Simon
Neil Simon
(born July 4, 1927) is an American playwright, screenwriter and author. He has written more than 30 plays and nearly the same number of movie screenplays, mostly adaptations of his plays. He has received more combined Oscar and Tony nominations than any other writer.[2] Simon grew up in New York during the Great Depression, with his parents' financial hardships affecting their marriage, giving him a mostly unhappy and unstable childhood. He often took refuge in movie theaters where he enjoyed watching the early comedians like Charlie Chaplin. After a few years in the Army Air Force Reserve, and after graduating from high school, he began writing comedy scripts for radio and some popular early television shows. Among them were Sid Caesar's Your Show of Shows
Your Show of Shows
from 1950 (where he worked alongside other young writers including Carl Reiner, Mel Brooks
Mel Brooks
and Selma Diamond), and The Phil Silvers Show, which ran from 1955 to 1959. He began writing his own plays beginning with Come Blow Your Horn (1961), which took him three years to complete and ran for 678 performances on Broadway. It was followed by two more successful plays, Barefoot in the Park (1963) and The Odd Couple (1965), for which he won a Tony Award. It made him a national celebrity and "the hottest new playwright on Broadway."[3] During the 1960s to 1980s, he wrote both original screenplays and stage plays, with some films actually based on his plays. His style ranged from romantic comedy to farce to more serious dramatic comedy. Overall, he has garnered 17 Tony nominations and won three. During one season, he had four successful plays running on Broadway at the same time, and in 1983 became the only living playwright to have a New York theatre, the Neil Simon Theatre, named in his honor.

Contents

1 Early years 2 Writing career

2.1 Television comedy 2.2 Playwright 2.3 Screenwriter

3 Themes and genres 4 Characters 5 Style and subject matter 6 Critical response 7 Personal life 8 Honors and recognition 9 Awards 10 Work

10.1 Theatre 10.2 Selected filmography 10.3 Television 10.4 Bibliography

11 Notes 12 References 13 Further reading 14 External links

Early years[edit] Neil Simon
Neil Simon
was born on July 4, 1927, in The Bronx, New York, to Jewish parents. His father, Irving Simon, was a garment salesman, and his mother, Mamie (Levy) Simon, was mostly a homemaker.[4] Simon had one older brother by eight years, television writer and comedy teacher Danny Simon. He grew up in Washington Heights, Manhattan
Washington Heights, Manhattan
during the period of the Great Depression, graduating from DeWitt Clinton High School when he was sixteen, where he was nicknamed "Doc" and described as extremely shy in the school yearbook.[5]:39 Simon's childhood was difficult and mostly unhappy due to his parents' "tempestuous marriage" and financial hardship caused by the Depression.[3]:1 He would sometimes block out their arguments by putting a pillow over his ears at night.[6] His father often abandoned the family for months at a time, causing them further financial and emotional hardship. As a result, Simon and his brother Danny were sometimes forced to live with different relatives, or else their parents took in boarders for some income.[3]:2 During an interview with writer Lawrence Grobel, Simon stated: "To this day I never really knew what the reason for all the fights and battles were about between the two of them ... She'd hate him and be very angry, but he would come back and she would take him back. She really loved him."[7]:378 Simon states that among the reasons he became a writer was to fulfill his need to be independent of such emotional family issues, a need he recognized when he was seven or eight: "I'd better start taking care of myself somehow . . . It made me strong as an independent person.[7]:378 To escape difficulties at home he often took refuge in movie theaters, where he especially enjoyed comedies with silent stars like Charlie Chaplin, Buster Keaton, and Laurel and Hardy. Simon recalls: "I was constantly being dragged out of movies for laughing too loud."

I think part of what made me a comedy writer is the blocking out of some of the really ugly, painful things in my childhood and covering it up with a humorous attitude ... do something to laugh until I was able to forget what was hurting.[3]:2

Simon attributes these childhood movies for inspiring him to some day write comedy: "I wanted to make a whole audience fall onto the floor, writhing and laughing so hard that some of them pass out."[8]:1 He appreciated Chaplin's ability to make people laugh and made writing comedy his long-term goal, and also saw it as a way to connect with people. "I was never going to be an athlete or a doctor."[7]:379 He began creating comedy for which he got paid while still in high school, when at the age of fifteen, Simon and his brother created a series of comedy sketches for employees at an annual department store event. And to help develop his writing skill, he often spent three days a week at the library reading books by famous humorists such as Mark Twain, Robert Benchley, George S. Kaufman
George S. Kaufman
and S. J. Perelman.[5]:218 Soon after graduating from high school, he signed up with the Army Air Force Reserve at New York University, and was eventually sent to Colorado as a corporal. It was during those years in the Reserve that Simon began writing, starting as a sports editor. He was assigned to Lowry Air Force Base
Lowry Air Force Base
during 1945 and attended the University of Denver[1] from 1945 to 1946.[1][3]:2 Writing career[edit] Television comedy[edit]

Simon in 1966

Two years later, he quit his job as a mailroom clerk in the Warner Brothers offices in Manhattan to write radio and television scripts with his brother Danny Simon, including tutelage by radio humourist Goodman Ace
Goodman Ace
when Ace ran a short-lived writing workshop for CBS. They wrote for the radio series The Robert Q. Lewis
Robert Q. Lewis
Show, which led to other writing jobs. Max Liebman hired the duo for his popular television comedy series Your Show of Shows, for which he earned two Emmy Award
Emmy Award
nominations. He later wrote scripts for The Phil Silvers Show; the episodes were broadcast during 1958 and 1959. Simon credits these two latter writing jobs for their importance to his career, stating that "between the two of them, I spent five years and learned more about what I was eventually going to do than in any other previous experience."[7]:381 He adds, "I knew when I walked into Your Show of Shows, that this was the most talented group of writers that up until that time had ever been assembled together."[2] Simon describes a typical writing session with the show:[9]

There were about seven writers, plus Sid, Carl Reiner, and Howie Morris... Mel Brooks
Mel Brooks
and maybe Woody Allen
Woody Allen
would write one of the other sketches ... everyone would pitch in and rewrite, so we all had a part of it ... It was probably the most enjoyable time I ever had in writing with other people.[7]:382

Simon incorporated some of their experiences into his play Laughter on the 23rd Floor (1993). A 2001 TV adaptation of the play won him two Emmy Award
Emmy Award
nominations. The first Broadway show Simon wrote was Catch a Star! (1955), collaborating on sketches with his brother, Danny.[10][11] Playwright[edit] During 1961, Simon's first Broadway play, Come Blow Your Horn, ran for 678 performances at the Brooks Atkinson Theatre. Simon took three years to write that first play, partly because he was also working on writing television scripts at the same time. He rewrote the play at least twenty times from beginning to end:[7]:384 "It was the lack of belief in myself. I said, 'This isn't good enough. It's not right. . . It was the equivalent of three years of college."[7]:384 That play, besides being a "monumental effort" for Simon, was a turning point in his career: "The theater and I discovered each other."[12]:3 After Barefoot in the Park (1963) and The Odd Couple (1965), for which he won a Tony Award, he became a national celebrity and was considered "the hottest new playwright on Broadway", writes Susan Koprince in her book on Simon.[3]:3 Those successful productions were followed by others, including The Good Doctor, God's Favorite, Chapter Two, They're Playing Our Song, I Ought to Be in Pictures, Brighton Beach Memoirs, Biloxi Blues, Broadway Bound, Jake's Women, The Goodbye Girl and Laughter on the 23rd Floor. His subjects ranged from serious to romantic comedy to more serious drama and less humor. Overall, he has garnered seventeen Tony nominations and won three.

With Cy Coleman
Cy Coleman
at piano rehearsing, 1982

During 1966, Simon had four shows playing at Broadway theaters at the same time: Sweet Charity, The Star-Spangled Girl, The Odd Couple and Barefoot in the Park. His professional association with producer Emanuel Azenberg began with The Sunshine Boys
The Sunshine Boys
during 1972 and continued with The Good Doctor, God's Favorite, Chapter Two, They're Playing Our Song, I Ought to Be in Pictures, Brighton Beach Memoirs, Biloxi Blues, Broadway Bound, Jake's Women, The Goodbye Girl
The Goodbye Girl
and Laughter on the 23rd Floor, among others. Simon also adapted material written by others for his plays, such as the musical Little Me (1962) from the novel by Patrick Dennis, Sweet Charity (1966) from a screenplay by Federico Fellini
Federico Fellini
and others (for Nights of Cabiria, 1957), and Promises, Promises (1968) from a film by Billy Wilder, The Apartment. Simon has occasionally been brought in as an uncredited "script doctor" to help hone the book for Broadway-bound plays or musicals under development[13] such as A Chorus Line (1975).[14] During the 1970s, he wrote a string of successful plays, sometimes having more than one playing at the same time to standing room only audiences. And while he was by then recognized as one of the country's leading playwrights, his inner drive kept him writing:

Did I relax and watch my boyhood ambitions being fulfilled before my eyes? Not if you were born in the Bronx, in the Depression and Jewish, you don't.[5]:47

Simon has also drawn "extensively on his own life and experience" for his stories, with settings typically in working-class New York neighborhoods, similar to ones in which he grew up. In 1983, he began writing the first of three autobiographical plays, Brighton Beach Memoirs (1983), Biloxi Blues (1985) and Broadway Bound (1986). With them, he received his greatest critical acclaim. After his follow-up play, Lost in Yonkers
Lost in Yonkers
(1991), Simon was awarded a Pulitzer Prize.[2] Screenwriter[edit] Simon has also written screenplays for more than twenty films, and he has received four Academy Award
Academy Award
nominations for his screenplays. Some of his screenplays are adaptations of his own plays, along with some original work, including The Out-of-Towners, Murder by Death
Murder by Death
and The Goodbye Girl. But although most of his films have been successful, movies were always secondary in importance to his plays:[7]:372

I always feel more like a writer when I'm writing a play because of the tradition of the theater ... there is no tradition of the screenwriter, unless he is also the director, which makes him an auteur. So I really feel that I'm writing for posterity with plays, which have been around since the Greek times.[7]:375

Simon chose not to write the screenplay for the first film adaptation of his work, Come Blow Your Horn
Come Blow Your Horn
(1963), preferring to focus on his playwriting. However, he was disappointed with the film, and tried to control his film screenplays thereafter. Many of his earlier screenplays were similar to the play, a characteristic Simon observed in hindsight: "I really didn't have an interest in films then", he explains. "I was mainly interested in continuing writing for the theater ... The plays never became cinematic".[3]:153 The Odd Couple (1968), however, was a highly successful early adaptation, both faithful to the stage play but also opened out, having more scenic variety. Themes and genres[edit] Theater critic John Lahr describes Simon's primary theme as being about "the silent majority", many of whom are "frustrated, edgy, and insecure". Simon's characters are also portrayed as "likable" and easy for audiences to identify with, often having difficult relationships in marriage, friendship or business, as they "struggle to find a sense of belonging".[3]:5 There is always "an implied seeking for solutions to human problems through relationships with other people [and] Simon is able to deal with serious topics of universal and enduring concern", writes biographer Edythe McGovern, while still making people laugh.[12]:11 She adds that one of Simon's hallmarks is his "great compassion for his fellow human beings,"[12]:188 an opinion similar to that of author Alan Cooper, who states that Simon's plays "are essentially about friendships, even when they are about marriage or siblings or crazy aunts ..."[5]:46 Many of Simon's plays are set in New York City, which gives them an urban flavor. Within that setting, Simon's themes, besides marital conflict, sometimes include infidelity, sibling rivalry, adolescences, bereavement, and fear of aging. And despite the serious nature of the themes, Simon has continually managed to tell the stories with humor, developing the theme to include both realism and comedy.[3]:11 Simon said he would tell aspiring comedy playwrights "not to try to make it funny. . . try and make it real and then the comedy will come."[5]:232 "When I was writing plays," he says, "I was almost always (with some exceptions) writing a drama that was funny ... I wanted to tell a story about real people."[5]:219 Simon explains how he manages this combination:

My view is, "how sad and funny life is." I can't think of a humorous situation that does not involve some pain. I used to ask, "What is a funny situation?" Now I ask, "What is a sad situation and how can I tell it humorously?"[3]:14

In marriage relationships, his comedies often portray these struggles with plots of marital difficulties or fading love, sometimes leading to separation, divorce and child custody battles. Their endings would typically conclude, after many twists in the plot, to renewal of the relationships.[3]:7 Politics seldom have any overt role in Simon's stories, and his characters avoid confronting society despite their personal problems. "Simon is simply interested in showing human beings as they are—with their foibles, eccentricities, and absurdities."[3]:9 Drama critic Richard Eder notes that Simon's popularity relies on his ability to portray a "painful comedy," where characters say and do funny things in extreme contrast to the unhappiness they are feeling.[3]:14 Simon's plays are generally semi-autobiographical, often portraying aspects of his troubled childhood and first marriages. According to Koprince, Simon's plays also "invariably depict the plight of white middle-class Americans, most of whom are New Yorkers and many of whom are Jewish, like himself."[3]:5 He states, "I suppose you could practically trace my life through my plays."[3]:10 In plays such as Lost in Yonkers, Simon suggests the necessity of a loving marriage, opposite to that of his parents', and when children are deprived of it in their home, "they end up emotionally damaged and lost".[3]:13 One of the key influences on Simon is his Jewish
Jewish
heritage, says Koprince, although he is unaware of it when writing. For example, in the Brighton Beach trilogy, she explains, the lead character is a "master of self-deprecating humor, cleverly poking fun at himself and at his Jewish
Jewish
culture as a whole."[3]:9 Simon himself has said that his characters are people who "often self-deprecating and [who] usually see life from the grimmest point of view,"[3]:9 explaining, "I see humor in even the grimmest of situations. And I think it's possible to write a play so moving it can tear you apart and still have humor in it."[6] This theme in writing, notes Koprince, "belongs to a tradition of Jewish
Jewish
humor ... a tradition which values laughter as a defense mechanism and which sees humor as a healing, life-giving force."[3]:9 Characters[edit] Simon's characters are typically portrayed as "imperfect, unheroic figures who are at heart decent human beings", according to Koprince, and she traces Simon's style of comedy to that of Menander, a playwright of ancient Greece. Menander, like Simon, also used average people in domestic life settings, the stories also blending humor and tragedy into his themes.[3]:6 Many of Simon's most memorable plays are built around two-character scenes, as in segments of California Suite and Plaza Suite. Before writing, Simon tries to create an image of his characters. He says that the play, Star Spangled Girl
Star Spangled Girl
which was a box-office failure, was "the only play I ever wrote where I did not have a clear visual image of the characters in my mind as I sat down at the typewriter."[12]:4 Simon considers "character building" as an obligation, stating that the "trick is to do it skillfully".[12]:4 While other writers have created vivid characters, they have not created nearly as many as Simon: "Simon has no peers among contemporary comedy playwrights," states biographer Robert Johnson.[8]:141 Simon's characters often amuse the audience with sparkling "zingers," believable due to Simon's skill with writing dialogue. He reproduces speech so "adroitly" that his characters are usually plausible and easy for audiences to identify with and laugh at.[12]:190 His characters may also express "serious and continuing concerns of mankind ... rather than purely topical material".[12]:10 McGovern notes that his characters are always impatient "with phoniness, with shallowness, with amorality", adding that they sometimes express "implicit and explicit criticism of modern urban life with its stress, its vacuity, and its materialism."[12]:11 However, Simon's characters will never be seen thumbing his or her nose at society."[8]:141 Style and subject matter[edit] The key aspect most consistent in Simon's writing style is comedy, situational and verbal, and presents serious subjects in a way that makes audiences "laugh to avoid weeping."[12]:192 He achieves this with rapid-fire jokes and wisecracks,[3]:150 in a wide variety of urban settings and stories.[8]:139 This creates a "sophisticated, urban humor", says editor Kimball King, and results in plays that represent "middle America."[5]:1 Simon creates everyday, apparently simple conflicts with his stories, which become comical premises for problems which need be solved.[5]:2–3 Another feature of his writing is his adherence to traditional values regarding marriage and family.[3]:150 McGovern states that this thread of the monogamous family runs though most of Simon's work, and is one he feels is necessary to give stability to society.[12]:189 Some critics have therefore described his stories as somewhat old fashioned, although Johnson points out that most members of his audiences "are delighted to find Simon upholding their own beliefs."[8]:142 And where infidelity is the theme in a Simon play, rarely, if ever, do those characters gain happiness: "In Simon's eyes, adds Johnson, "divorce is never a victory."[8]:142 Another aspect of Simon's style is his ability to combine both comedy and drama. Barefoot in the Park, for example, was a light romantic comedy, while portions of Plaza Suite
Plaza Suite
were written as "farce", and portions of California Suite are "high comedy".[3]:149 Simon was willing to experiment and take risks, often moving his plays in new and unexpected directions. In The Gingerbread Lady, he combines comedy with tragedy; Rumors (1988) was a full-length farce; in Jake's Women and Brighton Beach Memoirs he uses dramatic narration; in The Good Doctor, he created a "pastiche of sketches" around various stories by Chekhov; and Fools (1981), was written as a fairy-tale romance similar to stories by Sholem Aleichem.[3]:150 Although some of these efforts failed to win approval by many critics, Koprince claims that they nonetheless demonstrate Simon's "seriousness as a playwright and his interest in breaking new ground."[3]:150 Critical response[edit] For most of his career Simon's work has received mixed reviews, with many critics admiring his comedy skills, much of it a blend of "humor and pathos".[3]:4 Other critics were less complimentary, noting that much of his dramatic structure was weak and sometimes relied too heavily on gags and one-liners. As a result, notes Kopince, "literary scholars had generally ignored Simon's early work, regarding him as a commercially successful playwright rather than a serious dramatist."[3]:4 Clive Barnes, theater critic for The New York Times, wrote that like his British counterpart Noël Coward, Simon was "destined to spend most of his career underestimated", but nonetheless very "popular".[12]:foreword

Simon towers like a Colossus over the American Theater. When Neil Simon's time comes to be judged among successful playwrights of the twentieth century, he will definitely be first among equals. No other playwright in history has had the run he has: fifteen "Best Plays" of their season.

—Lawrence Grobel[7]:371

This attitude changed after 1991, when he won a Pulitzer Prize
Pulitzer Prize
for drama with Lost in Yonkers. McGovern writes that "seldom has even the most astute critic recognized what depths really exist in the plays of Neil Simon."[12]:foreword Although, when Lost in Yonkers
Lost in Yonkers
was considered by the Pulitzer Advisory Board, board member Douglas Watt noted that it was the only play nominated by all five jury members, and that they judged it "a mature work by an enduring (and often undervalued) American playwright."[5]:1 McGovern compares Simon with noted earlier playwrights, including Ben Jonson, Molière, and George Bernard Shaw, pointing out that those playwrights had "successfully raised fundamental and sometimes tragic issues of universal and therefore enduring interest without eschewing the comic mode." She concludes, "It is my firm conviction that Neil Simon should be considered a member of this company ... an invitation long overdue."[12]:foreword McGovern attempts to explain the response of many critics:

Above all, his plays which may appear simple to those who never look beyond the fact that they are amusing are, in fact, frequently more perceptive and revealing of the human condition than many plays labeled complex dramas.[12]:192

Similarly, literary critic Robert Johnson explains that Simon's plays have given us a "rich variety of entertaining, memorable characters" who portray the human experience, often with serious themes. Although his characters are "more lifelike, more complicated and more interesting" than most of the characters audiences see on stage, Simon has "not received as much critical attention as he deserves."[8]:preface Lawrence Grobel, in fact, calls him "the Shakespeare of his time", and possibly the "most successful playwright in history."[7]:371 He states: Broadway critic Walter Kerr
Walter Kerr
tries to rationalize why Simon's work has been underrated:

Because Americans have always tended to underrate writers who make them laugh, Neil Simon's accomplishment have not gained as much serious critical praise as they deserve. His best comedies contain not only a host of funny lines, but numerous memorable characters and an incisively dramatized set of beliefs that are not without merit. Simon is, in fact, one of the finest writers of comedy in American literary history.[8]:144

Personal life[edit] Simon has been married five times, to dancer Joan Baim (1953–1973), actress Marsha Mason
Marsha Mason
(1973–1983), twice to actress Diane Lander (1987–1988 and 1990–1998), and currently actress Elaine Joyce. He is the father of Nancy and Ellen, from his first marriage, and Bryn, Lander's daughter from a previous relationship whom he adopted. His nephew is U.S. District Judge Michael H. Simon and niece-in-law is U.S. Congresswoman Suzanne Bonamici. In 2004, Simon received a kidney transplant from his long-time friend and publicist Bill Evans.[15] Simon is on the Board of Selectors of Jefferson Awards for Public Service.[16] Honors and recognition[edit] Simon has been conferred with three honoris causa degrees; a Doctor of Humane Letters from Hofstra University, a Doctor of Letters
Doctor of Letters
from Marquette University
Marquette University
and a Doctor of Laws
Doctor of Laws
from Williams College.[17] In 1983 Simon became the only living playwright to have a New York theatre named after him.[18] The legitimate Broadway theater the Neil Simon Theatre, formerly the Alvin Theatre, was named in his honor, and he is an honorary member of the Walnut Street Theatre's board of trustees. Also in 1983, Simon was inducted into the American Theater Hall of Fame.[19] In 1965, he won the Tony Award
Tony Award
for Best Playwright
Playwright
(The Odd Couple), and in 1975, a special Tony Award
Tony Award
for his overall contribution to American theater. For Brighton Beach Memoirs (1983) he was awarded the New York Drama Critics Circle Award, followed by another Tony Award for Best Play of 1985, Biloxi Blues. In 1991 he won the Pulitzer Prize along with the Tony Award
Tony Award
for Lost in Yonkers
Lost in Yonkers
(1991). The Neil Simon
Neil Simon
Festival[20] is a professional summer repertory theatre devoted to preserving the works of Simon and his contemporaries. The Neil Simon
Neil Simon
Festival was founded by Richard Dean Bugg in 2003[21] and performs at the Heritage Center Theater in Cedar City, Utah. Awards[edit]

1957 Emmy Award
Emmy Award
for Your Show of Shows 1959 Emmy Award
Emmy Award
for The Phil Silvers Show 1965 Tony Award
Tony Award
for Best Author – The Odd Couple 1967 Evening Standard Award – Barefoot in the Park 1968 Sam S. Shubert Award – Sweet Charity 1969 Writers Guild of America Award The Odd Couple 1970 Writers Guild of America Award The Last of the Red Hot Lovers 1971 Writers Guild of America Award The Out-of-Towners 1972 Writers Guild of America Award The Trouble With People 1972 Cue Entertainer of the Year Award 1975 Special
Special
Tony Award
Tony Award
for contribution to theatre 1975 Writers Guild of America Award The Goodbye Girl 1978 Golden Globe Award
Golden Globe Award
for Best Motion Picture Screenplay – The Goodbye Girl 1979 Writers Guild of America Award Screen Laurel Award 1981 Doctor of Humane Letters from Hofstra University 1983 American Theatre Hall of Fame 1983 New York Drama Critics Circle Award – Brighton Beach Memoirs 1983 Outer Critics Circle Award – Brighton Beach Memoirs 1985 Tony Award
Tony Award
for Best Play – Biloxi Blues 1986 New York State Governor's Award 1989 American Comedy
Comedy
Awards Lifetime Achievement 1991 Drama Desk Award for Outstanding New Play – Lost in Yonkers 1991 Pulitzer Prize
Pulitzer Prize
for Drama – Lost in Yonkers 1991 Tony Award
Tony Award
for Best Play – Lost in Yonkers 1995 Kennedy Center Honoree 1996 Helmerich Award, the Peggy V. Helmerich Distinguished Author Award is presented annually by the Tulsa Library Trust. 1996 William Inge
William Inge
Theatre Festival Distinguished Achievement in the American Theater 2006 Mark Twain
Mark Twain
Prize for American Humor

Work[edit] Theatre[edit]

Come Blow Your Horn
Come Blow Your Horn
(1961) Little Me (1962) Barefoot in the Park (1963) The Odd Couple (1965) Sweet Charity
Sweet Charity
(1966) The Star-Spangled Girl (1966) Plaza Suite
Plaza Suite
(1968) Promises, Promises (1968) The Last of the Red Hot Lovers (1969) The Gingerbread Lady (1970) The Prisoner of Second Avenue
The Prisoner of Second Avenue
(1971) The Sunshine Boys
The Sunshine Boys
(1972) The Good Doctor (1973) God's Favorite (1974) California Suite (1976) Chapter Two (1977) They're Playing Our Song
They're Playing Our Song
(1979) I Ought to Be in Pictures
I Ought to Be in Pictures
(1980) Fools (1981) Brighton Beach Memoirs (1983) Biloxi Blues (1985) The Female Odd Couple
The Female Odd Couple
(1985) Broadway Bound (1986) Rumors (1988) Lost in Yonkers
Lost in Yonkers
(1991) Jake's Women (1992) The Goodbye Girl
The Goodbye Girl
(1993) Laughter on the 23rd Floor
Laughter on the 23rd Floor
(1993) London Suite (1995) Proposals (1997) The Dinner Party (2000) 45 Seconds from Broadway (2001) Rose's Dilemma (2003) Oscar and Felix: A New Look at the Odd Couple (2004)

Selected filmography[edit]

Come Blow Your Horn
Come Blow Your Horn
(1963) After the Fox (with Cesare Zavattini) (1966) Barefoot in the Park (1967) The Odd Couple (1968) Sweet Charity
Sweet Charity
(1969) The Out-of-Towners (1970) Plaza Suite
Plaza Suite
(1971) Star Spangled Girl
Star Spangled Girl
(1971) Last of the Red Hot Lovers (1972) The Heartbreak Kid (1972) The Prisoner of Second Avenue
The Prisoner of Second Avenue
(1975) The Sunshine Boys
The Sunshine Boys
(1975) Murder by Death
Murder by Death
(1976) The Goodbye Girl
The Goodbye Girl
(1977) The Cheap Detective
The Cheap Detective
(1978) California Suite (1978) Chapter Two (1979) Seems Like Old Times (1980) Only When I Laugh (1981) I Ought to Be in Pictures
I Ought to Be in Pictures
(1982) Max Dugan Returns
Max Dugan Returns
(1983) The Lonely Guy
The Lonely Guy
(1984) The Slugger's Wife
The Slugger's Wife
(1985) Brighton Beach Memoirs (1986) Biloxi Blues (1988) The Marrying Man
The Marrying Man
(1991) Lost in Yonkers
Lost in Yonkers
(1993) The Odd Couple II
The Odd Couple II
(1998)

Television[edit]

The Garry Moore Show
The Garry Moore Show
(1950) Your Show of Shows
Your Show of Shows
(1950–54) Caesar's Hour
Caesar's Hour
(1954–57) Stanley (1956) The Phil Silvers Show
The Phil Silvers Show
(1958–59) Kibbee Hates Fitch (1965)[22] The Good Doctor (1978) Plaza Suite
Plaza Suite
(1987) Broadway Bound (1993) The Sunshine Boys
The Sunshine Boys
(1995) Jake's Women (1996) London Suite (1996) Laughter on the 23rd Floor
Laughter on the 23rd Floor
(2001) The Goodbye Girl
The Goodbye Girl
(2004)

Bibliography[edit]

Simon, Neil (1996). Rewrites: A Memoir. New York: Simon & Schuster. ISBN 0-684-82672-0.  Simon, Neil (1999). The Play Goes On: A Memoir. New York: Simon & Schuster. ISBN 0-684-84691-8. 

Notes[edit]

^ a b c d "On this day: Neil Simon
Neil Simon
is born" The Jewish
Jewish
Chronicle Online, accessed October 25, 2011. ^ a b c "About Neil Simon", "American Masters", PBS, Nov. 3, 2000. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa Koprince, Susan (2002) Fehrenbacher, Understanding Neil Simon, University of South Carolina ISBN 1-57003-426-5. ^ " Neil Simon
Neil Simon
Unbound - Tablet Magazine – Jewish
Jewish
News and Politics, Jewish
Jewish
Arts and Culture, Jewish
Jewish
Life and Religion". Tabletmag.com. Retrieved 2017-05-15.  ^ a b c d e f g h i Konas, Gary (editor) (1997). Neil Simon: A Casebook, Garland Publishing ^ a b Grobel, Lawrence. "Playboy Interview with Neil Simon", Playboy Magazine, Feb., 1977 ^ a b c d e f g h i j k Grobel, Lawrence, Endangered Species: Writers Talk
Talk
About Their Craft, Their Visions, Their Lives, Da Capo Press (2001). ^ a b c d e f g h Johnson, Robert K., Neil Simon, Twayne Publishers, Boston (1983). ^ Grobel, Lawrence. "Neil Simon" Endangered Species: Writers Talk About Their Craft, Their Visions, Their Lives, Da Capo Press, 2009, ISBN 0786751622, pp 381-382 ^ The Concise Oxford Companion to Theatre. Eds. Phyllis Hartnoll and Peter Found. Oxford University Press, Oxford Reference Online (1996), New York University. 18 October 2011."Simon, (Marvin) Neil" ^ Ayling, Ronald (2003). Twentieth-Century American Dramatists: Fourth Series. Detroit, Michigan: Gale. ISBN 978-0-7876-6010-9.  ^ a b c d e f g h i j k l m n McGovern, Edythe M. Neil Simon: A Critical Study, Ungar Publishing (1979) ^ Riedel, Michael (April 9, 2010) Simon keeps 'Promises'. New York Post. ^ A Chorus Line: The Story Behind the Show[permanent dead link]. BerkshireTheatreGroup.org (July 5, 2012). ^ March 04, 2004 (2004-03-04). "Neil Simon's pal gives him kidney". Articles.latimes.com From Reuters. Retrieved 2017-05-15.  ^ "Archived copy". Archived from the original on 2010-11-24. Retrieved 2013-12-05.  ^ " Neil Simon
Neil Simon
Takes His Honorary LL.D with a Grain of Salt". The New York Times. Associated Press. 4 June 1984. Retrieved 2008-06-14.  ^ Simon, Neil (2003) The Oxford Companion to Theatre and Performance. Ed. Dennis Kennedy. Oxford University Press, Oxford Reference Online. Web. York University. 18 Oct. 2011. ^ "Theater Hall of Fame Gets 10 New Members". The New York Times. May 10, 1983.  ^ " Neil Simon
Neil Simon
Festival". Simonfest.org. Retrieved 2017-05-15.  ^ Orellana, Roxanna (1 August 2009). " Neil Simon
Neil Simon
Festival: Cedar City's other festival keeps on with the show". Salt Lake Tribune. Retrieved 1 February 2017.  ^ Kibbee Hates Fitch, Encyclopedia of Television Pilots, 1937-2012, McFarland (2013) p. 2449

References[edit]

The Concise Oxford Companion to Theatre. Eds. Phyllis Hartnoll and Peter Found. Oxford University Press, 1996. Oxford Reference Online. Web. York University. 18 Oct. 2011. "Simon, (Marvin) Neil". Koprince, Susan. Understanding Neil Simon. Columbia: University of South Carolina Press, 2002. 53–60. ISBN 1-57003-426-5. The Oxford Companion to Theatre and Performance. Ed. Dennis Kennedy. Oxford University Press, 2003. Oxford Reference Online. Web. York University. 18 Oct. 2011.

Further reading[edit]

Konas, Gary (1997). Neil Simon: A Casebook. New York: Garland Publishing Inc. ISBN 978-0-8153-2132-3. 

External links[edit]

Wikimedia Commons has media related to Neil Simon.

Wikiquote has quotations related to: Neil Simon

Neil Simon
Neil Simon
on IMDb Neil Simon
Neil Simon
at the Internet Broadway Database
Internet Broadway Database
Neil Simon
Neil Simon
at the Internet Off-Broadway Database Neil Simon
Neil Simon
at Curlie (based on DMOZ) video: "Neil Simon's Broadway" on YouTube, 6 minutes The Neil Simon
Neil Simon
Festival PBS article, American Masters James Lipton (Winter 1992). "Neil Simon, The Art of Theater No. 10". The Paris Review. 

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Neil Simon

Plays

Come Blow Your Horn
Come Blow Your Horn
(1961) Barefoot in the Park (1963) The Odd Couple (1965) The Star-Spangled Girl (1966) Plaza Suite
Plaza Suite
(1968) Last of the Red Hot Lovers (1969) The Gingerbread Lady (1970) The Prisoner of Second Avenue
The Prisoner of Second Avenue
(1971) The Sunshine Boys
The Sunshine Boys
(1972) The Good Doctor (1973) God's Favorite (1974) California Suite (1976) Chapter Two (1977) I Ought to Be in Pictures
I Ought to Be in Pictures
(1980) Fools (1981) The Female Odd Couple
The Female Odd Couple
(1981) Brighton Beach Memoirs (1983) Biloxi Blues (1985) Broadway Bound (1986) Rumors (1988) Lost in Yonkers
Lost in Yonkers
(1991) Jake's Women (1992) Laughter on the 23rd Floor
Laughter on the 23rd Floor
(1993) London Suite (1995) Proposals (1997) The Dinner Party (2000) 45 Seconds from Broadway (2001) Rose's Dilemma (2003) Oscar and Felix: A New Look at the Odd Couple (2004)

Musicals

Little Me (1962) Sweet Charity
Sweet Charity
(1966) Promises, Promises (1968) They're Playing Our Song
They're Playing Our Song
(1979) The Goodbye Girl
The Goodbye Girl
(1993)

Films

After the Fox (1966) Barefoot in the Park (1967) The Odd Couple (1968) The Out-of-Towners (1970) Plaza Suite
Plaza Suite
(1971) Last of the Red Hot Lovers (1972) The Heartbreak Kid (1972) The Prisoner of Second Avenue
The Prisoner of Second Avenue
(1975) The Sunshine Boys
The Sunshine Boys
(1975) Murder by Death
Murder by Death
(1976) The Goodbye Girl
The Goodbye Girl
(1977) The Cheap Detective
The Cheap Detective
(1978) California Suite (1978) Chapter Two (1979) Seems Like Old Times (1980) Only When I Laugh (1981) I Ought to Be in Pictures
I Ought to Be in Pictures
(1982) Max Dugan Returns
Max Dugan Returns
(1983) The Lonely Guy
The Lonely Guy
(1984) The Slugger's Wife
The Slugger's Wife
(1985) Brighton Beach Memoirs (1986) Biloxi Blues (1988) The Marrying Man
The Marrying Man
(1991) Broadway Bound (1992) Lost in Yonkers
Lost in Yonkers
(1993) The Odd Couple II
The Odd Couple II
(1998)

v t e

Golden Globe Award
Golden Globe Award
for Best Screenplay

Robert Bolt (1965) Robert Bolt (1966) Stirling Silliphant (1967) Stirling Silliphant (1968) Bridget Boland, John Hale and Richard Sokolove (1969) Erich Segal
Erich Segal
(1970) Paddy Chayefsky
Paddy Chayefsky
(1971) Francis Ford Coppola
Francis Ford Coppola
and Mario Puzo
Mario Puzo
(1972) William Peter Blatty
William Peter Blatty
(1973) Robert Towne
Robert Towne
(1974) Bo Goldman
Bo Goldman
and Lawrence Hauben (1975) Paddy Chayefsky
Paddy Chayefsky
(1976) Neil Simon
Neil Simon
(1977) Oliver Stone
Oliver Stone
(1978) Robert Benton (1979) William Peter Blatty
William Peter Blatty
(1980) Ernest Thompson
Ernest Thompson
(1981) John Briley (1982) James L. Brooks
James L. Brooks
(1983) Peter Shaffer (1984) Woody Allen
Woody Allen
(1985) Robert Bolt (1986) Bernardo Bertolucci, Mark Peploe and Enzon Ungari (1987) Naomi Foner (1988) Oliver Stone
Oliver Stone
and Ron Kovic
Ron Kovic
(1989) Michael Blake (1990) Callie Khouri
Callie Khouri
(1991) Bo Goldman
Bo Goldman
(1992) Steven Zaillian (1993) Quentin Tarantino
Quentin Tarantino
(1994) Emma Thompson
Emma Thompson
(1995) Scott Alexander and Larry Karaszewski (1996) Ben Affleck
Ben Affleck
and Matt Damon
Matt Damon
(1997) Marc Norman and Tom Stoppard
Tom Stoppard
(1998) Alan Ball (1999) Stephen Gaghan
Stephen Gaghan
(2000) Akiva Goldsman
Akiva Goldsman
(2001) Alexander Payne
Alexander Payne
and Jim Taylor (2002) Sofia Coppola
Sofia Coppola
(2003) Alexander Payne
Alexander Payne
and Jim Taylor (2004) Larry McMurtry
Larry McMurtry
and Diana Ossana (2005) Peter Morgan (2006) Joel Coen and Ethan Coen (2007) Simon Beaufoy (2008) Jason Reitman
Jason Reitman
and Sheldon Turner (2009) Aaron Sorkin
Aaron Sorkin
(2010) Woody Allen
Woody Allen
(2011) Quentin Tarantino
Quentin Tarantino
(2012) Spike Jonze
Spike Jonze
(2013) Alejandro G. Iñárritu, Nicolás Giacobone, Alexander Dinelaris Jr., and Armando Bo (2014) Aaron Sorkin
Aaron Sorkin
(2015) Damien Chazelle
Damien Chazelle
(2016) Martin McDonagh
Martin McDonagh
(2017)

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Writers Guild of America Award for Best Original Screenplay

Original Drama (1969–1983, retired)

William Goldman
William Goldman
(1969) Francis Ford Coppola
Francis Ford Coppola
and Edmund H. North (1970) Penelope Gilliatt (1971) Jeremy Larner (1972) Steve Shagan (1973) Robert Towne
Robert Towne
(1974) Frank Pierson
Frank Pierson
(1975) Paddy Chayefsky
Paddy Chayefsky
(1976) Arthur Laurents
Arthur Laurents
(1977) Nancy Dowd, Robert C. Jones and Waldo Salt (1978) Mike Gray, T. S. Cook and James Bridges (1979) Bo Goldman
Bo Goldman
(1980) Warren Beatty
Warren Beatty
and Trevor Griffiths (1981) Melissa Mathison
Melissa Mathison
(1982) Horton Foote (1983)

Original Comedy (1969–1983, retired)

Paul Mazursky
Paul Mazursky
and Larry Tucker (1969) Neil Simon
Neil Simon
(1970) Paddy Chayefsky
Paddy Chayefsky
(1971) Peter Bogdanovich, Buck Henry, David Newman and Robert Benton (1972) Melvin Frank and Jack Rose (1973) Mel Brooks, Norman Steinberg, Andrew Bergman, Richard Pryor
Richard Pryor
and Alan Uger (1974) Robert Towne
Robert Towne
and Warren Beatty
Warren Beatty
(1975) Bill Lancaster
Bill Lancaster
(1976) Woody Allen
Woody Allen
and Marshall Brickman (1977) Larry Gelbart
Larry Gelbart
and Sheldon Keller (1978) Steve Tesich
Steve Tesich
(1979) Nancy Meyers, Harvey Miller and Charles Shyer
Charles Shyer
(1980) Steve Gordon (1981) Don McGuire, Larry Gelbart
Larry Gelbart
and Murray Schisgal (1982) Lawrence Kasdan
Lawrence Kasdan
and Barbara Benedek (1983)

Original Screenplay (1984–present)

Woody Allen
Woody Allen
(1984) William Kelley and Earl W. Wallace (1985) Woody Allen
Woody Allen
(1986) John Patrick Shanley
John Patrick Shanley
(1987) Ron Shelton (1988) Woody Allen
Woody Allen
(1989) Barry Levinson
Barry Levinson
(1990) Callie Khouri
Callie Khouri
(1991) Neil Jordan
Neil Jordan
(1992) Jane Campion
Jane Campion
(1993) Richard Curtis
Richard Curtis
(1994) Randall Wallace (1995) Joel Coen and Ethan Coen (1996) James L. Brooks
James L. Brooks
and Mark Andrus (1997) Marc Norman and Tom Stoppard
Tom Stoppard
(1998) Alan Ball (1999) Kenneth Lonergan
Kenneth Lonergan
(2000) Julian Fellowes
Julian Fellowes
(2001) Michael Moore
Michael Moore
(2002) Sofia Coppola
Sofia Coppola
(2003) Charlie Kaufman
Charlie Kaufman
(2004) Paul Haggis
Paul Haggis
and Bobby Moresco (2005) Michael Arndt
Michael Arndt
(2006) Diablo Cody
Diablo Cody
(2007) Dustin Lance Black
Dustin Lance Black
(2008) Mark Boal
Mark Boal
(2009) Christopher Nolan
Christopher Nolan
(2010) Woody Allen
Woody Allen
(2011) Mark Boal
Mark Boal
(2012) Spike Jonze
Spike Jonze
(2013) Wes Anderson
Wes Anderson
and Hugo Guinness (2014) Tom McCarthy and Josh Singer (2015) Barry Jenkins
Barry Jenkins
and Tarell Alvin McCraney
Tarell Alvin McCraney
(2016) Jordan Peele
Jordan Peele
(2017)

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Writers Guild of America Award for Best Adapted Screenplay

Adapted Drama (1969–1983, retired)

Waldo Salt (1969) Robert Anderson (1970) Ernest Tidyman (1971) Francis Ford Coppola
Francis Ford Coppola
and Mario Puzo
Mario Puzo
(1972) Waldo Salt and Norman Wexler (1973) Francis Ford Coppola
Francis Ford Coppola
and Mario Puzo
Mario Puzo
(1974) Bo Goldman
Bo Goldman
and Lawrence Hauben (1975) William Goldman
William Goldman
(1976) Denne Bart Petitclerc
Denne Bart Petitclerc
(1977) Oliver Stone
Oliver Stone
(1978) Robert Benton (1979) Alvin Sargent (1980) Ernest Thompson
Ernest Thompson
(1981) Costa-Gavras
Costa-Gavras
and Donald E. Stewart (1982) Julius J. Epstein (1983)

Adapted Comedy (1969–1983, retired)

Arnold Schulman (1969) Ring Lardner Jr.
Ring Lardner Jr.
(1970) John Paxton (1971) Jay Presson Allen
Jay Presson Allen
(1972) Alvin Sargent (1973) Lionel Chetwynd and Mordecai Richler
Mordecai Richler
(1974) Neil Simon
Neil Simon
(1975) Blake Edwards
Blake Edwards
and Frank Waldman (1976) Larry Gelbart
Larry Gelbart
(1977) Elaine May
Elaine May
and Warren Beatty
Warren Beatty
/ Bernard Slade (1978) Jerzy Kosiński
Jerzy Kosiński
(1979) Jim Abrahams, David Zucker, and Jerry Zucker
Jerry Zucker
(1980) Gerard Ayres (1981) Blake Edwards
Blake Edwards
(1982) James L. Brooks
James L. Brooks
(1983)

Adapted Screenplay (1984–present)

Bruce Robinson
Bruce Robinson
(1984) Richard Condon and Janet Roach (1985) Ruth Prawer Jhabvala
Ruth Prawer Jhabvala
(1986) Steve Martin
Steve Martin
(1987) Christopher Hampton
Christopher Hampton
(1988) Alfred Uhry
Alfred Uhry
(1989) Michael Blake (1990) Ted Tally (1991) Michael Tolkin
Michael Tolkin
(1992) Steven Zaillian (1993) Eric Roth (1994) Emma Thompson
Emma Thompson
(1995) Billy Bob Thornton
Billy Bob Thornton
(1996) Curtis Hanson
Curtis Hanson
and Brian Helgeland (1997) Scott Frank (1998) Alexander Payne
Alexander Payne
and Jim Taylor (1999) Stephen Gaghan
Stephen Gaghan
(2000) Akiva Goldsman
Akiva Goldsman
(2001) David Hare (2002) Shari Springer Berman and Robert Pulcini
Shari Springer Berman and Robert Pulcini
(2003) Alexander Payne
Alexander Payne
and Jim Taylor (2004) Larry McMurtry
Larry McMurtry
and Diana Ossana (2005) William Monahan
William Monahan
(2006) Joel Coen and Ethan Coen (2007) Simon Beaufoy (2008) Jason Reitman
Jason Reitman
and Sheldon Turner (2009) Aaron Sorkin
Aaron Sorkin
(2010) Alexander Payne, Jim Rash, and Nat Faxon
Nat Faxon
(2011) Chris Terrio (2012) Billy Ray (2013) Graham Moore (2014) Adam McKay
Adam McKay
and Charles Randolph (2015) Eric Heisserer (2016) James Ivory
James Ivory
(2017)

v t e

Mark Twain
Mark Twain
Prize winners

Richard Pryor
Richard Pryor
(1998) Jonathan Winters
Jonathan Winters
(1999) Carl Reiner
Carl Reiner
(2000) Whoopi Goldberg
Whoopi Goldberg
(2001) Bob Newhart
Bob Newhart
(2002) Lily Tomlin
Lily Tomlin
(2003) Lorne Michaels
Lorne Michaels
(2004) Steve Martin
Steve Martin
(2005) Neil Simon
Neil Simon
(2006) Billy Crystal
Billy Crystal
(2007) George Carlin
George Carlin
(2008) Bill Cosby
Bill Cosby
(2009) Tina Fey
Tina Fey
(2010) Will Ferrell
Will Ferrell
(2011) Ellen DeGeneres
Ellen DeGeneres
(2012) Carol Burnett
Carol Burnett
(2013) Jay Leno
Jay Leno
(2014) Eddie Murphy
Eddie Murphy
(2015) Bill Murray
Bill Murray
(2016) David Letterman
David Letterman
(2017)

v t e

Pulitzer Prize
Pulitzer Prize
for Drama: Authors

Jesse Lynch Williams (1918) Eugene O'Neill
Eugene O'Neill
(1920) Zona Gale
Zona Gale
(1921) Eugene O'Neill
Eugene O'Neill
(1922) Owen Davis
Owen Davis
(1923) Hatcher Hughes (1924) Sidney Howard
Sidney Howard
(1925) George Kelly (1926) Paul Green (1927) Eugene O'Neill
Eugene O'Neill
(1928) Elmer Rice
Elmer Rice
(1929) Marc Connelly
Marc Connelly
(1930) Susan Glaspell
Susan Glaspell
(1931) George S. Kaufman, Morrie Ryskind and Ira Gershwin
Ira Gershwin
(1932) Maxwell Anderson
Maxwell Anderson
(1933) Sidney Kingsley
Sidney Kingsley
(1934) Zoe Akins
Zoe Akins
(1935) Robert E. Sherwood
Robert E. Sherwood
(1936) Moss Hart
Moss Hart
and George S. Kaufman
George S. Kaufman
(1937) Thornton Wilder
Thornton Wilder
(1938) Robert E. Sherwood
Robert E. Sherwood
(1939) William Saroyan
William Saroyan
(1940) Robert E. Sherwood
Robert E. Sherwood
(1941) Thornton Wilder
Thornton Wilder
(1943) Mary Chase (1945) Russel Crouse and Howard Lindsay (1946) Tennessee Williams
Tennessee Williams
(1948) Arthur Miller
Arthur Miller
(1949) Richard Rodgers, Oscar Hammerstein II
Oscar Hammerstein II
and Joshua Logan (1950) Joseph Kramm (1952) William Inge
William Inge
(1953) John Patrick (1954) Tennessee Williams
Tennessee Williams
(1955) Albert Hackett
Albert Hackett
and Frances Goodrich (1956) Eugene O'Neill
Eugene O'Neill
(1957) Ketti Frings (1958) Archibald MacLeish
Archibald MacLeish
(1959) Jerome Weidman, George Abbott, Jerry Bock
Jerry Bock
and Sheldon Harnick
Sheldon Harnick
(1960) Tad Mosel
Tad Mosel
(1961) Frank Loesser
Frank Loesser
and Abe Burrows
Abe Burrows
(1962) Frank D. Gilroy (1965) Edward Albee
Edward Albee
(1967) Howard Sackler (1969) Charles Gordone (1970) Paul Zindel
Paul Zindel
(1971) Jason Miller (1973) Edward Albee
Edward Albee
(1975) Michael Bennett, Nicholas Dante, James Kirkwood Jr., Marvin Hamlisch and Edward Kleban (1976) Michael Cristofer
Michael Cristofer
(1977) Donald L. Coburn (1978) Sam Shepard
Sam Shepard
(1979) Lanford Wilson
Lanford Wilson
(1980) Beth Henley (1981) Charles Fuller (1982) Marsha Norman
Marsha Norman
(1983) David Mamet
David Mamet
(1984) James Lapine
James Lapine
and Stephen Sondheim
Stephen Sondheim
(1985) August Wilson
August Wilson
(1987) Alfred Uhry
Alfred Uhry
(1988) Wendy Wasserstein
Wendy Wasserstein
(1989) August Wilson
August Wilson
(1990) Neil Simon
Neil Simon
(1991) Robert Schenkkan
Robert Schenkkan
(1992) Tony Kushner
Tony Kushner
(1993) Edward Albee
Edward Albee
(1994) Horton Foote (1995) Jonathan Larson (1996) Paula Vogel
Paula Vogel
(1998) Margaret Edson (1999) Donald Margulies
Donald Margulies
(2000) David Auburn (2001) Suzan-Lori Parks
Suzan-Lori Parks
(2002) Nilo Cruz
Nilo Cruz
(2003) Doug Wright (2004) John Patrick Shanley
John Patrick Shanley
(2005) David Lindsay-Abaire (2007) Tracy Letts
Tracy Letts
(2008) Lynn Nottage
Lynn Nottage
(2009) Tom Kitt and Brian Yorkey (2010) Bruce Norris (2011) Quiara Alegría Hudes (2012) Ayad Akhtar
Ayad Akhtar
(2013) Annie Baker
Annie Baker
(2014) Stephen Adly Guirgis (2015) Lin-Manuel Miranda
Lin-Manuel Miranda
(2016) Lynn Nottage
Lynn Nottage
(2017)

v t e

Tony Award
Tony Award
for Best Author

Arthur Miller
Arthur Miller
(1947) Thomas Heggen and Joshua Logan (1948) Arthur Miller
Arthur Miller
/ Bella and Samuel Spewack
Bella and Samuel Spewack
(1949) Abe Burrows, Jack Weinstock, and Willie Gilbert (1962) Burt Shevelove and Larry Gelbart
Larry Gelbart
(1963) Michael Stewart (1964) Neil Simon
Neil Simon
/ Joseph Stein (1965)

v t e

Kennedy Center Honorees (1990s)

1990

Dizzy Gillespie Katharine Hepburn Risë Stevens Jule Styne Billy Wilder

1991

Roy Acuff Betty Comden
Betty Comden
and Adolph Green Fayard and Harold Nicholas Gregory Peck Robert Shaw

1992

Lionel Hampton Paul Newman
Paul Newman
and Joanne Woodward Ginger Rogers Mstislav Rostropovich Paul Taylor

1993

Johnny Carson Arthur Mitchell Sir Georg Solti Stephen Sondheim Marion Williams

1994

Kirk Douglas Aretha Franklin Morton Gould Harold Prince Pete Seeger

1995

Jacques d'Amboise Marilyn Horne B.B. King Sidney Poitier Neil Simon

1996

Edward Albee Benny Carter Johnny Cash Jack Lemmon Maria Tallchief

1997

Lauren Bacall Bob Dylan Charlton Heston Jessye Norman Edward Villella

1998

Bill Cosby Fred Ebb
Fred Ebb
and John Kander Willie Nelson André Previn Shirley Temple
Shirley Temple
Black

1999

Victor Borge Sean Connery Judith Jamison Jason Robards Stevie Wonder

Complete list 1970s 1980s 1990s 2000s 2010s

v t e

Neil Simon's The Odd Couple

Films

The Odd Couple (1968) The Odd Couple II
The Odd Couple II
(1998)

Television series

The Odd Couple (1970–1975) (episodes) The Oddball Couple
The Oddball Couple
(1975) The New Odd Couple (1982–1983) The Odd Couple (2015–2017) (episodes)

Authority control

WorldCat Identities VIAF: 49253423 LCCN: n79065574 ISNI: 0000 0000 8127 3721 GND: 118797328 SUDOC: 029311632 BNF: cb120964612 (data) BIBSYS: 90100730 NDL: 00456640 BNE: XX830605 SN

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