The Shubert's facade is made ofbrick andterracotta, withsgraffito decorations designed instucco. Three arches face south onto 44th Street, and a curved corner faces east towardBroadway. To the east, theShubert Alley facade includes doors to the lobby and the stage house. The auditorium contains an orchestra level, two balconies, and a flat ceiling. The space is decorated with mythological murals throughout. Near the front of the auditorium, flanking the ellipticalproscenium arch, arebox seats at balcony level. The upper levels contain offices formerly occupied by the Shubert brothers, and the stage house to the north is shared with theBooth Theatre.
The Shubert brothers developed the Booth and Shubert theaters as their first venues on the block. The Shubert Theatre opened on October 2, 1913, with a revival ofHamlet. The theater has hosted numerous long-running musicals throughout its history, such asBells Are Ringing andPromises, Promises. Since the 1970s, the Shubert has hosted long runs of the musicalsA Chorus Line,Crazy for You,Chicago,Spamalot,Memphis, andMatilda the Musical.
Drawing of the theater's site in 1916. The Shubert and Booth theaters are at upper left.
The Shubert Theatre is on 225 West 44th Street, on the north sidewalk betweenEighth Avenue andSeventh Avenue, nearTimes Square in theTheater District ofMidtown Manhattan inNew York City, New York, U.S.[4] It shares aland lot with theBooth Theatre directly to the north, though the theaters are separate buildings.[5][6] The lot covers 25,305 square feet (2,350.9 m2), with afrontage of 126 feet (38 m) on 44th and 45th Streets and 200.83 feet (61 m) onShubert Alley to the east.[5] The Shubert Theatre building takes up 110 feet (34 m) of the Shubert Alley frontage and measures about 110 feet wide on 44th Street.[7][8]
The Shubert and Booth theaters were developed as a pair and are the oldest theaters on the block.[13][14] The site was previously occupied by several houses on 44th and 45th Street.[15] The adjacent Shubert Alley, built along with the Shubert and Booth theaters,[16][17] was originally a 15-foot-wide (4.6 m) fire escape passage.[18] Shubert Alley's presence not only allowed the theaters to meet fire regulations[19][20] but also enabled the structures to be designed as corner lots.[6] Originally, the theaters faced theHotel Astor, now the location of One Astor Plaza, across the alley.[10][21] Another private alley runs to the west, between the Booth/Shubert and Broadhurst/Schoenfeld theaters.[22] The Broadhurst and Schoenfeld were also built as a pair, occupying land left over from the development of the Shubert and Booth; these too are designed with curved corners facing Broadway.[23]
The Shubert Theatre was designed byHenry Beaumont Herts and constructed in 1913 for theShubert brothers.[4][24] Herts was an experienced theatrical architect and had previously led the firm ofHerts & Tallant, which designed such theaters as theLyceum, theNew Amsterdam, and theLiberty.[25][26] The Shubert and Booth theaters are within separate buildings and differ in their interior designs and functions,[7][27] although they have adjacent stage areas near the center of the block.[6] The Shubert was the larger house, intended to be suitable for musicals, and the Shubert family's offices were placed above the auditorium there.[28] By contrast, the Booth was intended to be smaller and more intimate.[29] The Shubert Theatre is operated byThe Shubert Organization.[1][30][31]
Thefacades of the two theaters are similar in arrangement, being designed in theItalian Renaissance style[20][32] or the Venetian Renaissance style.[33] The structures both have curved corners facingBroadway, since most audience members reached the theaters from that direction.[6][34] The Shubert's facade is made of white brick, laid in English-crossbondwork, as well asterracotta.[7][32][35] The bricks are laid in alternatingcourses of headers (with their short sides exposed) and stretchers (with their long sides exposed).[35] An early source described the theaters' facades as being made of white marble, withstucco andfaience panels.[20] The main section of the theater rises six stories and is topped by acornice withdentils. Above the cornice is a sheet-metalmansard roof.[36] A critic forArchitecture magazine wrote that Herts had "discovered an excellent motive for a single facade", although it "would perhaps have been more amusing" if the two theaters had contained different facades.[19]
According to theNew-York Tribune, the theaters' use of hand-carvedsgraffito for decoration made Herts "the first man to have used sgraffito for this purpose".[27] The sgraffito was used because of New York City building codes that prevented decorations from projecting beyond their lot lines.[37][38][39] These decorations were colored light-gray, placed on a purple-gray background.[35][40] The sgraffito on the two theaters is one of the few such examples that remain in New York City. A contemporary source said the theaters' facades were "free from much of the gaudy trappings that has made some of the recent playhouses commonplace in appearance".[38]
At ground level, the 44th Streetelevation contains a tallwater table of painted stone, above which is a band withrusticated blocks of terracotta. There are three arches at the center of the facade, which provide an emergency exit from the lobby.[7][36] Each archway originally contained a pair of paneled wooden double doors, but these have since been replaced with glass doors. On either side of the arches are rectangular sign boards topped by triangularpediments.[36] Within the archways above the doors are sgraffito paintings, which depict figures withinaedicules.[37][38] These paintings are partially obscured by a modernmarquee that is cantilevered from the wall above. The archways are surrounded by rusticatedvoissoirs.[36]
Above the archways, the theater's facade is made of brick. The brick section of the facade is surrounded by a stucco band of sgraffito decorations, which is painted white and containsbas reliefs of classical-style foliate ornamentation. Outside this stucco band is another sgraffito band, divided into panels that depict female figures and griffins. The extreme left (west) and right (east) ends of the facade contain vertical sequences of terracottaquoins; they haveCorinthian-style capitals that are decorated with motifs of rams, lions' heads, andacanthus leaves. At the top of the brick wall, the paneled sgraffito band is split up into three sections, each with a curved broken pediment and carvings of masks. Above each pediment is a set of triple windows at the sixth story, surrounded by a terracotta frame. Each triple window contains awindow sill, which projects outward slightly and is supported bycorbels that depict winged heads. Octagonal terracotta panels separate each set of triple windows. The mansard roof has three sets ofdormer windows on this elevation.[36]
Due to the theater's location at the corner of 44th Street and Shubert Alley, the southeast corner of the facade is curved.[34][36] This corner section has a doorway at the center, containing glass-and-metal doors; these are shielded by a canopy that extends to thecurb on 44th Street.[36] There are stonepilasters on either side of the doorway, which contain cartouches and sign boards. Above the doors is a broken pediment shaped like asegmental arch. The center of the broken pediment has an oval sgraffito panel with scrolls on the sides and a scalloped shell above it.[38][41] The panel depicts a figure that carries a sign with the words "Henry B. Herts, Architect 1913".[36]
A brick wall rises from the doorway, and a sign board is mounted on the wall. The brick is surrounded by a stucco band with sgraffito foliate decorations, which retains its original colors. Like on 44th Street, there are vertical quoins with Corinthian capitals on the left and right. At the top of the brick wall, there is a broken pediment, within which is a theatrical mask and a shield. This broken pediment is topped by a pair of windows at the sixth story, surrounded by a terracotta frame. The windows share a slightly projecting sill, which is supported by corbels that depict winged heads.[42]
On Shubert Alley, the facade is divided into the auditorium to the left (south) and the stage house to the right (north). The auditorium section contains three sets of glass-and-metal doors: two from the auditorium, on the left, and one leading to the Shuberts' upper-story offices, on the right. A metal marquee hangs over these doors. Like the elevations on 44th Street and at the southeast corner, the left side of the auditorium facade contains vertical quoins topped by a Corinthian capital. Also similar to the 44th Street elevation, there is a brick wall section above the first floor, surrounded by a stucco sgraffito band with bas-reliefs and a paneled sgraffito band. At the top of the brick wall are three broken pediments and three sets of windows surrounded by terracotta frames. The main difference from the 44th Street elevation is that the center set of windows contains two openings rather than three, and there is no roof dormer above the center windows.[43]
The stage house section, shared with the Booth Theatre to the north, is simpler in design, being made mainly of brick in English cross bond. The ground floor has doorways, metal panels, and sign boards. A band of quoins separates the stage house from the Shubert auditorium to the left and the Booth Theatre to the right. The second to fourth floors have one-over-onesash windows, while the fifth floor has a terracotta shield at the center. The top of the stage house contains aparapet, above which is a sgraffito panel surrounded by bricks.[43]
The lobby is composed of an elliptical space, accessed from the southeast corner of the theater, and a rectangular space, accessed from two of the doors on Shubert Alley. The north wall of the lobby contains ticket windows, while the west wall contains doors to the auditorium.[44] Originally, the space was described as an elaborate green-marble room accessed by heavy oak doors.[7] The marble mosaic-tile floor is decorated with foliate patterns. At the top of the walls is afrieze depicting waves and talons, as well as a cornice with modillions.[45] The rectangular section of the lobby contains avaulted ceiling, which is split into multiple sections by moldings. There is an octagonal panel. surrounded by laurel leaves, at the center of the vault. The elliptical section of the lobby has a domed ceiling decorated with moldings and laurel leaves.[46]
The auditorium has an orchestra level, two balconies,boxes, and astage behind theproscenium arch. The auditorium is wider than its depth, and the space is designed with plaster decorations inrelief.[45] According to the Shubert Organization, the theater has 1,502 seats;[1] meanwhile,The Broadway League gives a figure of 1,460 seats[30] andPlaybill cites 1,435 seats.[31] The physical seats are divided into 700 seats in the orchestra, 410 on the mezzanine/first balcony, 350 on the second balcony, and 16 in the boxes. There are 26 standing-only spots, as well as 28 removable seats in the orchestra pit.[1] The theater contains restrooms in the basement, mezzanine, and balcony. The orchestra level is wheelchair-accessible, but the restrooms and other seating levels are not.[1][31] The theater originally had a capacity of 1,400 seats.[7][8][27]
The New York Times described the decorative scheme as originally being "old Venetian gold, absinthe green, and amethyst".[7] Mythological motifs are heavily featured in the interior.[33]J. Mortimer Lichtenauer painted murals along the boxes, the area above the proscenium arch, and the ceiling. The murals contain figures with masks of Minoan and renaissance inspiration, as well as semi-nude females depicting music and drama.[47][48] There were twenty-one figures; a contemporary publication said the murals had been completed in "a little less than two days".[49]Architecture magazine cited the Shubert's interior as being "good of the more accepted theatre interior design", despite not being of "such exceptional excellence" as the neighboring Booth.[19]
View of the left-hand box from the right side of the balcony
The rear or southern end of the orchestra contains a promenade[45] measuring 15 feet (4.6 m) deep.[7] Fourpiers, topped by plain capitals, support the mezzanine level and separate the promenade from the orchestra seating.[50] The top of the orchestra promenade's walls contain a frieze with phoenixes and foliate decorations; several niches with arched pediments are placed within the frieze.[51] The ceiling is abarrel vault, split into multiple sections by moldings; it contains an octagonal panel at the center.[50] There are also lightingsconces and a standing rail in the orchestra promenade.[52] Stairs in the promenade lead up to the mezzanine and balcony. The orchestra level israked, sloping down toward anorchestra pit in front of the stage.[45] The orchestra has paneled plasterwork side walls with fabric coverings, as well as lighting sconces.[53]
The mezzanine and balcony are both steeply raked.[45] The rear of the mezzanine contains a promenade, similar to that on the orchestra.[7][45] The underside of the mezzanine contains moldings and foliation, which surround murals that depict classical scenes. In front of the mezzanine and the balcony are plasterwork panels withswags and theatrical masks; the balcony's front rail is covered by light boxes.[53] The side walls of both the mezzanine and the balcony contain plasterwork panels with fabric coverings; a shallow cornice separates the mezzanine from the balcony. There are doorways on both levels, above which are friezes with scroll decorations. Two of the doorways on the balcony have panels that depictswags and shields. A frieze runs above the balcony, wrapping above the boxes and proscenium.[51] There is a technical booth at the rear of the balcony.[52]
On either side of the stage is a splayed wall section, which includes an elliptical arch with one box at the mezzanine level.[45] Similar boxes were installed on the orchestra level but have since been removed.[52] The front railings of the boxes contain motifs of scallops and swags, while the undersides are decorated withscrolled brackets and foliate panels. The archways themselves are mostly filled with paneled plaster walls, with a doorway leading into each box.[51] The doorways haveeared surrounds, and the tops of the doorways contain rectangular panels with light fixtures. The archways are surrounded bycoved bands with urns and foliate decorations. Above these arches are murals with swags, foliate decorations, and female figures, surrounded by a band of foliate decorations.[53] The boxes were decorated in "old Venetian gold", while the paintings above were predominantly colored "absinthe green and amethyst".[54]
Next to the boxes is a coved, segmental proscenium arch. The coved section has octagonal panels, which are separated either by fan motifs or by sunbursts and foliate decorations.[50] The proscenium opening measures about 38 feet 9 inches (11.81 m) wide and 28 feet 6 inches (8.69 m) tall.[1] Above the proscenium arch is an octagonal panel containing a mural. On either side of the mural are female representations of music and drama, surrounded by a band of foliate decorations. A frieze also runs above the proscenium; it depicts female figures alternating with shields and winged figures.[51] The depth of the auditorium to the proscenium is 33 feet 10 inches (10.31 m), while the depth to the front of the stage is 36 feet (11 m).[1] The stage itself was described as being 35 feet (11 m) deep and 80 feet (24 m) wide behind the proscenium. The stage lighting was controlled by a switchboard, placed on a terrace to one side of the stage.[7]
The flat ceiling is hexagonal in shape, split into sections by molded bands.[45] There is a square panel at the center of the ceiling, surrounded by hexagonal panels that contain murals. The central panel is itself divided into sections, with smaller panels that surround a square section; the mural in the central square has been removed.[53] Six chandeliers hang from the ceiling: two above the orchestra and four above the second balcony.[32][52] The ceiling contains air-conditioning vents, as well as a suspendedtruss.[52]
The dressing rooms are separated from the stages of each theater by a heavy fireproof wall.[7][27] The two theaters are separated from each other by a 2-foot-thick (0.61 m) wall.[6][55] A gift shop called One Shubert Alley opened between the Shubert and Booth theaters in 1979, within three of the Booth's former dressing rooms.[56] Theemergency exits of both theaters were composed of "fire- and smoke-proof towers" rather than exteriorfire escapes.[57]
The top two stories were designed as offices for the Shuberts.[27]Lee Shubert had a circular office on the third floor, facing the street, which he occupied until his death in 1953.[58] His younger brotherJacob J. Shubert, also known as J. J., had a three-room office in the rear of the third floor.[59] Lee often referred to the third and fourth stories as "my offices", implying J. J.'s subordinate position in the firm.[58][60] There were also offices for casting directors, secretaries, and telephone operators; a kitchen and dining room; a bedroom; and a bathroom.[58] The Shubert offices had a large safe for storing money, in the days when the theatrical industry operated mainly as a cash business, though this was subsequently converted to a storage area for drinks.[61] By 1926, when Lee and J. J.'s relationship became strained,[62] J. J. had moved to Sardi's restaurant, while Lee remained atop the Shubert Theatre.[62][63]
Following Lee's death, his office was occupied by his nephew Milton Shubert,[64][65] who quit in 1954 after an acrimonious dispute with J. J. regarding who should lead the Shubert family's theaters.[66][65] The law firm of Schoenfeld & Jacobs, headed byGerald Schoenfeld andBernard B. Jacobs, occupied the Shubert Theater offices for free in the 1970s.[67] Jacobs occupied Lee Shubert's suite until his death in 1996.[68] For several decades, producerAlexander H. Cohen also had offices in the Shubert Theatre and was known as the "third Shubert",[69] despite conflicting with Jacobs and Schoenfeld over rent in the mid-1980s.[70] By the theater's 100th anniversary in 2013, Lee's former dining room had been divided into offices for Shubert president Robert E. Wankel and chairman Philip J. Smith.[61]
Times Square became the epicenter for large-scale theater productions between 1900 andthe Great Depression.[71] Manhattan's theater district had begun to shift fromUnion Square andMadison Square during the first decade of the 20th century.[72][73] From 1901 to 1920, forty-three theaters were built around Broadway in Midtown Manhattan, including the Shubert Theatre.[74] The venue was developed by the Shubert brothers ofSyracuse, New York, who expandeddownstate into New York City in the first decade of the 20th century.[75][76] AfterSam S. Shubert died in a railroad accident in 1905, his brothers Lee and J. J. expanded their theatrical operations significantly.[77][78] Sam had been 26 years old at the time of his death.[79] His brothers decided to construct five theaters across the United States in his honor, all named the Sam S. Shubert Memorial Theatre.[6][78] The Shuberts later dropped the word "memorial" from these theaters' names, citing the word's "unpleasant connotation".[62]
As the Shuberts were developing theaters in the early 1910s, theatrical producerWinthrop Ames was planning to build a replacement for theNew Theatre. Though the New had been completed in 1909, Ames and the theater's founders saw the venue, on theUpper West Side, as being too large and too far away from Times Square.[80] The New Theatre's founders acquired several buildings at 219–225 West 44th Street and 218–230 West 45th Street in March 1911, for the construction of a "new New Theatre" there.[15] The theater would have contained a private alley to the east.[15] The project was canceled in December 1911, after the site had been cleared, when Ames announced he would build the Little Theatre (now the Hayes Theater) across 44th Street.[81][82] The New Theatre's founders cited the difficulty of finding a director for the new New Theatre, as well as possible competition with Ames's Little Theatre.[83]
In April 1912, Winthrop Ames and Lee Shubert decided to lease the site of the new New Theatre from the Astor family.[83][84] Two theaters would be built on the site, along with a private alley to their east.[83][84] Shubert's theater was to be the larger of the venues, being on 44th Street, while Ames's theater would be on 45th Street and would have a smaller seating capacity.[57][85][86] The larger theater was known as the Sam S. Shubert Theatre, in memory of Lee's late brother, while the smaller one was named after actorEdwin Booth.[86][87]
Documents indicate that several architects were consulted for the theaters' design, includingClarence H. Blackall, before the Shuberts hired Henry B. Herts for the job.[86] An "ice palace" was also planned on the site now occupied by the Broadhurst and Schoenfeld theaters.[86][88] Work on the two theaters started in May 1912.[20][57] The next month, the new-building application for the New Theatre (which had been filed in 1911) was withdrawn, and two new-building applications for Shubert's and Ames's theaters were filed.[89] Herts began accepting bids for construction contractors that July,[90] and the Fleischmann Bros. Company was selected the following month to construct both of the new theaters.[91] The project encountered several delays and disputes over costs. Documents indicate that the Fleischmann Bros. had expressed concerns of imprecise drawings and fired several workers.[92] Further delays occurred when Ames requested several changes to the Booth's design in mid-1912; Herts said this would require the plans to be completely redone, while J. J. Shubert believed the changes were superficial. The Fleischmann Bros. warned that the delays could set back the project further, as the sgraffito ornament could not be installed during winter.[40]
By August 1913, British actorJohnston Forbes-Robertson and his wifeGertrude Elliott had announced their plans to open the new Shubert Theatre with a season of plays inrepertory.[93] TheNew-York Tribune reported that Forbes-Robertson's appearance would "establish a dramatic precedent of the highest order".[27][38] The first event at the new Shubert Theatre was a reception for Forbes-Robertson on September 29, 1913, withJulia Marlowe,Augustus Thomas, andDeWolf Hopper making speeches.[94][95] Three days later, on October 2, the theater officially opened with a revival ofHamlet, starring Forbes-Robertson.[96][97][98][a] This coincided with the opening of Shubert Alley, which was first used duringHamlet's intermission.[16] At the theater's opening, Lee Shubert said, "In using for this new theatre the name of Sam S. Shubert, we consecrate it in the most solemn manner we know."[100] At the time, there were just two other theaters on the surrounding blocks: the Little Theatre and the now-demolishedWeber and Fields' Music Hall.[18]
TheNew York City Landmarks Preservation Commission (LPC) had started considering protecting the Shubert as a landmark in 1982,[286] with discussions continuing over the next several years.[287] The LPC designated the Shubert's facade and interior as landmarks on December 15, 1987.[48] This was part of the LPC's wide-ranging effort in 1987 to grant landmark status to Broadway theaters.[288] TheNew York City Board of Estimate ratified the designations in March 1988.[289] The Shubert Organization, theNederlander Organization, andJujamcyn collectively sued the LPC in June 1988 to overturn the landmark designations of 22 theaters, including the Shubert, on the merit that the designations severely limited the extent to which the theaters could be modified.[290] The lawsuit was escalated to theNew York Supreme Court and theSupreme Court of the United States, but these designations were ultimately upheld in 1992.[291]
By early 1990,A Chorus Line was no longer profitable for Papp,[292] and the show ended that April after 6,137 performances.[276][293][294] The popularWest End musicalBuddy: The Buddy Holly Story was then booked for the Shubert,[295] and the theater was closed for renovations during much of 1990.[283]The Buddy Holly Story opened that November[296][297] and ran for 225 performances,[298] much shorter than its West End appearance.[283] The next hit at the Shubert was theGeorge andIra Gershwin musicalCrazy for You, which opened in February 1992[299][300] and lasted 1,622 performances through January 1996.[301][302] During this time, the theater also hosted memorial services for performers such asHelen Hayes in 1993[303] andJessica Tandy in 1994.[304] The theater was then renovated again for $3.7 million, with its technical systems being updated.[305] Next was the musicalBig, which opened in April 1996[306][307] and had 192 performances.[308]
The Shubert Theatre as seen in 2025
A revival of the musicalChicago relocated to the Shubert in February 1997[309][310] and remained until January 2003, when the show moved to theAmbassador Theatre.[309][311] A tribute to lyricistAdolph Green was hosted at the theater in late 2002, near the end ofChicago's run there.[312] TheJule Styne andStephen Sondheim musicalGypsy then opened in May 2003,[313][314] running at the Shubert for a year.[315] As part of a settlement with theUnited States Department of Justice in 2003, the Shuberts agreed to improve disabled access at their 16 landmarked Broadway theaters, including the Shubert.[316][317] This was followed by a dance special,Forever Tango, in the latter half of 2004.[318][319] The theater's next hit was the musical comedySpamalot, which opened in 2005[320][321] and ran for nearly four years.[322][323] It was succeeded by a three-month revival of Noel Coward'sBlithe Spirit in 2009.[324][325] Yet another long-running show opened at the Shubert in October 2009:David Bryan andJoe DiPietro's musicalMemphis,[326][327] which lasted for 1,166 performances through 2012.[328][329] DuringMemphis's run, three shows ran for one night each:Brigadoon in 2010,Camelot in 2011, andOliver! in 2012.[31]
Tim Minchin's West End hitMatilda the Musical opened at the Shubert in April 2013[330][331] and ran for 1,554 performances through the beginning of 2017.[332] Subsequently, the Shubert staged a revival ofHello Dolly! withBette Midler from April 2017 to August 2018.[333][334]Hello, Dolly! broke the box office record for the Shubert Theatre twelve times,[335] grossing $2.4 million during the week of October 23, 2017.[336]Aaron Sorkin's playTo Kill a Mockingbird opened in December 2018[337] and ran until all Broadway theaters temporarilyclosed on March 12, 2020, due to theCOVID-19 pandemic.[338] The Shubert reopened on October 5, 2021, withTo Kill A Mockingbird,[339][340] which closed in January 2022.[341][342] The Shubert's next booking, a limited run of the farcePOTUS, opened in April 2022.[343][344] It was followed by the musicalSome Like It Hot in December 2022,[345][346] which closed in December 2023.[347] The musicalHell's Kitchen opened at the theater in April 2024,[348] transferring from off-Broadway.[349] It is scheduled to close in February 2026.[350] This will be followed by the rock musicalGalileo, which is is scheduled to open in December 2026.[351]
^According to theatrical historianKen Bloom, alternate opening dates of September 29, October 28, and September 3 are listed.[99] However, contemporary media refer to the Forbes-Robertson reception being on September 29 and the first show on October 2.[97][98]
^ab"Shuberts Buy Sites of Four of Their Theaters: Get Broadhurst, Plymouth, Shubert and Booth Land From W. W. Astor Estate".New York Herald Tribune. November 10, 1948. p. 14.ProQuest1335171969.
^abcFerris, John (March 29, 1942). "Shuberts Control Half Of New York Stages: Lee and J. J. Who Share Bank Account Have Little Competition as Theatrical Landlords There, Since Most. Other Theaters Are in Hands of Independent Producers".The Hartford Courant. p. A6.ISSN1047-4153.ProQuest559613057.
^"New Theatre Abandoned: Founders Believe It Unwise to Proceed With Enterprise Had Bought New Site Founders Opened First Playhouse in 1909, and Many New Plays Were Produced There".New-York Tribune. December 21, 1911. p. 7.ProQuest574855982.
^"New Theaters for New York: Last Year's Record Not Quite Equalled a Now Shubert House and One for Winthrop Ames "the Lure" and "the Fight" Continue in Limelight".The Hartford Courant. September 12, 1913. p. 7.ISSN1047-4153.ProQuest556023582.
^"Sothern And Marlowe Return To Broadway: Audience Welcomes Their Appearance in Stellar Role of "Twelfth Night" at Shubert Theatre".Women's Wear. Vol. 19, no. 83. October 7, 1919. p. 11.ProQuest1666210112.
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