TheCircle in the Square Theatre (colloquially theCircle) is aBroadway theater at 235 West50th Street, within the basement ofParamount Plaza, in theMidtown Manhattan neighborhood ofNew York City, New York, U.S. The current Broadway theater, completed in 1972, is the successor of anoff-Broadway theater of the same name, co-founded around 1950 by a group that includedTheodore Mann andJosé Quintero. The Broadway venue was designed by Allen Sayles; it originally contained 650 seats and uses athrust stage that extends into the audience on three sides. The theater had 776 seats as of 2024[update].[a]
The Circle in the Square Theatre was named for its first location at 5 Sheridan Square inGreenwich Village, which opened in February 1951 and was operated as atheater in the round. During the 1950s and 1960s, the theater became whatWomen's Wear Daily described as the "center ofOff-Broadway". The Sheridan Square theater was closed temporarily between 1954 and 1955 and was demolished in 1960. The company then moved to 159Bleecker Street, known asCircle in the Square Downtown; that location continued to operate until about 1995. In addition to its Sheridan Square and Bleecker Street locations, the Circle hosted shows at other locations such asFord's Theatre and theHenry Miller's Theatre.
TheGershwin Theatre and the Circle in the Square's Broadway theater were built as part of Paramount Plaza (originally known as the Uris Building). The Circle opened its Broadway theater on November 15, 1972, and operated as anonprofit subscription-supportedproducing house for the next 25 years. The theater typically presented three or four shows per year in the 1970s and 1980s, but, by the 1990s, the theater had a $1.5 million deficit. Following an unsuccessful attempt to appoint new leadership in 1994, the company filed for bankruptcy in 1997. The theater reopened in 1999, now operating as an independent commercialreceiving house. TheCircle in the Square Theatre School, a drama school within Paramount Plaza, is associated with the Circle in the Square Theatre.
The Circle in the Square Theatre (colloquially known as the Circle) is in the basement ofParamount Plaza in theMidtown Manhattan neighborhood ofNew York City, New York, U.S.[1] It was designed by Allen Sayles, with a lighting system designed byJules Fisher.[1] The Circle in the Square theatrical company operates its own venue, which was originally known as the Circle in the Square–Joseph E. Levine Theatre.[2][3] It is one of Paramount Plaza's two theaters, the other being the much largerGershwin Theatre on the second floor.[4][5] Paramount Plaza's two venues, along with theMinskoff andAmerican Place theaters, were constructed under the Special Theater District amendment of 1967 as a way to give their respective developers additional floor area.[6] The space is accessed via escalators from street level,[1][7] as well as via stairs.[1][8]
The theater was built with a capacity of 650 seats;[1][9] as of 2022[update], the theater has 751 seats.[10][a] The space was originally meant as an off-Broadway house with fewer than 500 seats, but the Circle's artistic directorTheodore Mann and its managing director Paul Libin increased the capacity by relocating columns and replaced steps with ramps.[12] Originally, the theater was decorated with red seats, and it had a red-and-gray carpet in acheckerboard pattern. The Circle's symbol, a cube, was incorporated into the design of the carpet and the light.[1] The top of the auditorium contains soundproof panels, which minimized noise frompolice horses when the theater opened.[12] A soundproof control booth was placed at the rear of the auditorium.[8]
The Circle contains athrust stage, with seats surrounding it on three sides,[12][13] similar to the venue's off-Broadway predecessors.[14] It is one of two Broadway houses with a thrust stage; the other isLincoln Center'sVivian Beaumont Theater. Because of the stage's unconventional design, theatrical critics negatively reviewed it, while directors had difficulty staging productions there.[15] Conversely, the design allowed the audience to be extremely close to the stage, as there were only ten rows of seats.[16] According to Mann, the design of the current Circle in the Square was based on the predecessor theaters. These, in turn, were based on a recommendation from theater criticBrooks Atkinson, who had told Mann: "When you walk in the door, you should see the stage—that should predominate—not the audience."[1]
The Circle in the Square was founded by Theodore Mann,José Quintero,Jason Wingreen, Aileen Cramer, Emily Stevens, and Edward Mann, all of whom were members of the Loft Players.[17][18][b] The theater's founders were in their mid-20s and were described byThe New York Times as having "little training, less experience, and no reputation in the theater".[19] Sources disagree on when the organization was founded, but it may have been established in 1949[20] or 1950.[21][22] The founding team wished to establish a "center dedicated to the development and presentation of all the arts".[23] The team could not afford to open their theater in Manhattan's high-rent Theater District.[23] Upon the recommendation of Mann's father Martin M. Goldman,[24] the team opted for a location inGreenwich Village, which had a myriad of empty theaters.[23]
The first Circle in the Square Theatre was at 5 Sheridan Square (also known as the Greenwich Village Inn[24][28]), a former nightclub in Greenwich Village.[21] The Circle's founders signed a 10-year lease on the building.[20][29] When the team signed the lease in 1951, they had $320 between them,[30] including $300 that they had earned from operating a summer theater inWoodstock, New York.[31] The Circle's founders raised $7,500,[32] and Goldman formed Onyx Restaurants Inc. to lease the inn on behalf of the team, which was responsible for paying $1,000 a month in rent.[29] The inn occupied a pair ofbrownstone residences. The first-floor living and dining rooms in one of the residences had been converted to a rectangular dance floor, while the three stories above the dance floor included 15 rooms.[24] There was a bar in the rear of the dance floor, as well as a kitchen in the basement.[33] Due to the inn's configuration, the theater's founders decided to operate the Circle as atheater in the round, wherein the audience surrounded the stage (a converted dance floor).[19][33] The theater, and the eponymous company, derived their name from the facility's layout and its location atSheridan Square.[21][20][30]
The theater was planned to open in November 1950, but the opening was delayed by two and a half months due to difficulties in securing a theatrical license.[32] Ultimately, the Circle's founders were only allowed a cabaret license.[21][30] The theater's first production was the playDark of the Moon,[21][34] which opened in February 1951.[35] At the time, the off-Broadway industry was still relatively obscure[30] and was not covered by mainstream newspapers.[34] Mann, Quintero, and all actors were paid a flat salary of $20 per week.[31] The Circle became more popular after theatrical criticBrooks Atkinson praised the Circle's production of Williams'sSummer and Smoke in 1952.[25][30] Mann said Atkinson's review prompted guests to line up for tickets during July, at a time when theaters traditionally closed in the summer due to a lack of air conditioning.[25] Quintero directed some of the theater's most popular early productions, includingThe Grass Harp,American Gothic,[36] and O'Neill'sThe Iceman Cometh andLong Day's Journey into Night.[31] Notwithstanding the success ofSummer and Smoke, the theater lost money during its first several years.[31]
City officials closed the 5 Sheridan Square location in March 1954 because the venue did not comply with fire-safety regulations[37][38] and because the space was only licensed as a cabaret.[37][39] At the time, the Circle was described as one of the "most popular Off-Broadway theaters".[38] During the 1954–1955 season, the Circle temporarily relocated to Broadway houses such as the48th Street Theatre[40] and the46th Street Theatre.[41] After Mann filed plans to renovate the theater in April 1955,[42] city officials approved the theater's reopening.[43] When the venue reopened on June 1, 1955,[44][45] it was rebranded as theCircle in the Square Cabaret.[45] It continued to host popular theatrical performances, such asCradle Song,Children of Darkness, andOur Town.[46] In July 1959, Mann, Quintero, and Leigh Connell announced that they had to relocate by that October because the building's owner was planning to redevelop the site.[46][47] At the time of the announcement, the Circle had presented 18 shows, mostly revivals of plays, at 5 Sheridan Square.[47] The old location remained open until January 8, 1960,[48][49][50] and the inn was demolished the same year.[51]
At the end of August 1959, Mann, Quintero, and Connell leased space at 159Bleecker Street in Greenwich Village, which at the time was occupied by theAmato Opera Company.[52][53] The structure had been constructed in 1917 and had been used for various purposes over the years,[54] including a movie theater.[27] Starting in October 1959,[49] the group rebuilt the space as a circle-in-the-round theater, similar in arrangement to the original location.[53][55] To comply with Off-Broadway regulations, the theater had 199 seats.[31] Unlike the Sheridan Square location, the Bleecker Street theater had adequate space for dressing rooms.[55] The newer space had higher ceilings, and it did not have support columns that obstructed patrons' views, as the Sheridan Square theater did.[49] The new location, known as Circle in the Square Downtown, opened on January 9, 1960, withOur Town; the play's cast had given their last performance at 5 Sheridan Square the day before.[48] The first new production at the Bleecker Street location, was a revival ofJean Genet'sThe Balcony which opened the same year.[56][57]
By the early 1960s, the Circle had staged several box-office flops and was in debt.[58] Nonetheless, upon the theater's tenth anniversary in 1961, theNew York Herald Tribune reported that Mann and Quintero were purchasing the Bleecker Street building, at a time when Off-Broadway theaters were in high demand.[31] Quintero had directed 17 of the Circle's 21 plays at that point.[34] Ultimately, Quintero decided to resign from the Circle by 1963,[59][60] preferring to work as a freelance producer.[19] Paul Libin was hired as the Circle in the Square's managing director the same year.[14] This era also saw the Circle's longest-lasting production,The Trojan Women, which ran from 1963 to 1965.[61][62] The company had staged 47 off-Broadway and 10 Broadway productions by its 20th anniversary in 1971.[8]
Even though the company's Broadway theater opened in 1972,[2] the Bleecker Street location continued to host off-Broadway shows through the late 1970s.[21] In 1994, theCircle Repertory Company took over the Circle in the Square Downtown.[63][64] Developers announced plans to raze the Bleecker Street theater in 2004.[65] The venue was demolished in 2005 and replaced with a nine-story apartment building.[66]
The Circle in the Square leased the Henry Miller's Theatre from 1968 to 1969 and Ford's Theatre from 1968 to 1971.
The Circle in the Square took a one-year lease on theHenry Miller's Theatre, a Broadway theater, beginning in August 1968.[67] The company's productions at the Henry Miller's were presented under the name "Circle in the Square on Broadway".[68][69] Even though the Henry Miller's was a Broadway theater, the Circle's productions there were ineligible for theTony Awards because the Circle was a repertory company.[70] The company only ran two shows at the venue, both of which were flops, before its lease was terminated.[71][72] Those two productions wereThe Cuban Thing, followed byMorning, Noon and Night, a trio of one-act plays.[72][73] When the Circle's lease was terminated in January 1969, Mann and Libin were already in the process of developing their own theater on Broadway.[61][71]
The Circle began staging productions atFord's Theatre inWashington, D.C., in 1968.[74] The Circle's productions in Washington, D.C., were initially successful, contrasting with the theatrical company's failure on Broadway.[75] The company's productions at Ford's included revivals of such plays asMoon for the Misbegotten,[76][77]Ah, Wilderness!,[76][78] andArsenic and Old Lace.[79][78] However, the company's offerings were ultimately constrained by the fact that the managers of Ford's Theatre were selective about what constituted "acceptable audience entertainment".[79] The Washington's Ford's Theatre Society sought to take over operation of Ford's Theatre in 1971, prompting the Circle to sue the society.[80] The Circle lost the lawsuit and severed its partnership with Ford's in September 1971, citing large financial losses.[81][82]
In September 1967,Uris Buildings Corporation leased the site of theCapitol Theatre on Broadway, between 50th and 51st Streets, for 100 years. Uris announced it would build an office tower and a Broadway theater on the site; initially, the corporation only proposed a single theater, which later became the Gershwin Theatre.[83] In October 1967, theNew York City Planning Commission (CPC) proposed the Special Theater District Zoning Amendment,[84][85][86] which would directly allow theaters inOne Astor Plaza and the Uris Building.[87][88] TheNew York City Board of Estimate approved the amendment that December.[89][90]
The Uris Buildings Corporation agreed in February 1968 to build a second theater in the basement upon the CPC's request. The new theater was originally supposed to be an experimental theater with 300 to 375 seats.[91][92] Richard Weinstein, the head of the CPC's Lower Manhattan office, asked Mann whether he was interested in occupying the Uris Building's second theater. Mann initially was uninterested in relocating to a theater with such small capacity, but he changed his mind after seeing that the space could fit 650 seats, large enough to qualify as a Broadway theater.[8] The CPC approved the new theaters the same year,[93][94] as did the Board of Estimate.[95] Lease negotiations between Mann andPercy Uris had been completed by January 1969,[96] and Mann and Libin formed the for-profit Thespian Theater Inc., which subleased the smaller theater to the Circle.[97] The Circle's Broadway theater was intended as a "more elegant" version of the off-Broadway house,[27] although the company was initially unsure whether it would retain its off-Broadway location.[98] Mann believed that the development of relatively small Broadway theaters, such as the Circle's, would allow "more specialized plays" to be produced, as compared with larger and older theaters.[99]
The venue in Paramount Plaza's basement opened for inspection on October 2, 1972.[2] The Broadway house was named theCircle in the Square–Joseph E. Levine Theatre, forJoseph E. Levine, a longtime benefactor of the Circle.[100] Prior to the Broadway house's opening, the theater hosted a gala on October 26, 1972. featuring several actors who had performed at the Circle's off-Broadway locations.[101][102][c] The Levine Theatre hosted its first performance, a revival ofMourning Becomes Electra, on November 15, 1972.[2][103][104] In the months after the Circle's Broadway house opened, it hosted numerous performers whose portraits were hung in the lobby.[1] Twelve thousand people were paying for annual subscriptions to the Broadway house by the beginning of 1973.[105] Unlike at other Broadway theaters, the Circle tended to host multiple opening nights for each show.[106]Headliners were paid a flat rate of $1,000 a week, less than in comparable Broadway theaters.[107]
During the Broadway house's first two seasons, the Circle staged productions such asMedea, Here Are Ladies,Uncle Vanya,The Waltz of the Toreadors, andThe Iceman Cometh in 1973,[108][109] as well asThe American Millionaire andScapino in early 1974.[110] Despite its early popularity, the theater could only earn up to $35,000 per week, and it relied heavily on grants.[111] By March 1974, the theater was in danger of closing due to a shortfall of nearly $200,000. The musicalLook, Homeward, as well as all shows during the 1973–1974 season, would have been canceled.[112] The Circle announced in April 1974 that it would not close, having raised the necessary funds,[113] including emergency grants, nearly $34,000 in individual donations, and even a grant from rival producerJoseph Papp.[114] The success ofScapino, which featuredJim Dale, was also cited as a factor in the theater's survival.[115][116]
Due to recurring financial issues that nearly prompted the theater company to declare bankruptcy, the Circle delayed the start of its 1979–1980 season to February 1980, extending the run ofLoose Ends to cover the gap.[129] Consequently, the season was planned to have three plays,[130] the first two of which wereMajor Barbara[131][132] andPast Tense.[133][134] The final play,The Makropulos Affair, was replaced withThe Man Who Came to Dinner on relatively short notice.[130] For 1980–1981, the Circle returned to presenting four plays:The Bacchae,John Gabriel Borkman,The Father, andScenes and Revelations.[122][133] The Circle had originally planned to stageHamlet afterThe Bacchae, butHamlet had been replaced withBorkman due to scheduling conflicts.[135] The theater next hostedCandida in late 1981,[136][137] followed byMacbeth,Eminent Domain, andPresent Laughter in 1982.[110] The theater hosted other events during the 1980s, including tributes to playwrightsEugene O'Neill[138] andWilliam Saroyan.[139]
Libin stepped down as the theater's managing director in 1990 but remained involved with the theater's operation.[14] The Circle hosted two plays that year: the American premiere of the Russian playZoya's Apartment,[154][157] as well as a revival ofThe Miser.[158][159] This was followed in 1991 byTaking Steps,[160][161]Getting Married,[162][163] andOn Borrowed Time.[164][165] By 1991–1992, the theater faced an increasingly severe financial crisis.[166] In the first half of 1992, the theater hosted the playSearch and Destroy,[154] followed by two plays that concurrently starredAl Pacino: a revival ofSalome and the original production ofIra Lewis'sChinese Coffee.[154] Pacino had to scale back his appearances inSalome andChinese Coffee after straining his vocal cords;[167][168] as a result, these productions onlybroke even.[14][168] The musicalAnna Karenina, originally planned for 1991–1992,[168] was generally negatively reviewed when it opened at the beginning of the next season.[166][14] By then, the theater was running at a significant loss; afterAnna Karenina closed, Mann tried to save money by keeping the set ofAnna Karenina in place.[14][169] Many of the theater's productions in the 1990s had been commercially unsuccessful.[16]
By November 1992, the theater had a $1.3 million deficit, prompting managing director Robert A. Buckley to fire 10 of the 25 staff members and postpone the start of the 1992–1993 season by four months.[170] Buckley resigned shortly afterward, and George A. Elmer was hired as the new managing director.[169][171] The theater had only about 8,500 subscribers at the time.[14][172] The Circle operated at a loss of $1.5 million,[14] in large part because of its overdependence on box-office revenue.[173] That March, the theater canceled two plays byMolière due to a lack of funds.[174] Libin advised Mann to separate the finances of the theater andits associated school;[175] an unnamed former employee toldTheNew York Times that the theater was "living off the school".[14] As a result, the school was separated from the theater in 1993.[176][177] The school assumed the lease of the theater space, then subleased the space back to the theater.[177]
The only show that the Circle hosted in 1993 wasWilder, Wilder, Wilder,[178] a trio of Wilder plays that lasted for 44 performances.[179][180] Afterward, the Circle was dark for over a year;[173] a planned engagement of the playBelmont Avenue Social Club during late 1993 had been canceled.[181] Many of the Circle's board members blamed Mann for selecting shows that did not appeal to audiences and claimed that he was too focused on a "theatrical community that was rooted in the past".[173] As a direct consequence, the Circle had failed to compete with newer nonprofit theater companies such as Second Stage Theater,Lincoln Center Theater, or theManhattan Theatre Club.[173] The number of subscribers had decreased to about 5,400 by 1994.[172]
Harvey Seifter took over as the theater's executive director in March 1994.[173][182] The Circle's artistic managers sought to revive the theater by establishing a $500,000 production fund, hiring a second artistic director to assist Mann, and creating partnerships with other theatrical companies.[173]Josephine Abady was hired as the second artistic director in August 1994; she was to take over as the theater's sole artistic director when Mann stepped down.[183][184] Abady planned to book both revivals and newer plays at the theater,[185] and she wished to attract additional subscribers to compete with other nonprofit theaters.[172][185] Although the Circle had received millions of dollars in grants during that season, Abady estimated that it would take eight years for the Circle to record a net profit. The Circle also started offering discounted tickets to attract younger patrons, since, at the time, the median subscriber was 53 years old.[172]
The theater reopened with three plays during 1994–1995:The Shadow Box,Uncle Vanya, andThe Rose Tattoo.[186] During the 1995–1996 season, the theater hosted the playsGarden District,Holiday,Bus Stop, andTartuffe.[187] By then, the Circle had 7,000 subscribers.[188] Nonetheless, many of the theater's board members were unhappy with Abady's leadership, as the theater's debt had increased by $241,000 during that season.[188][189] Libin and Mann also challenged the way Abady handled the theater's finances.[175] That August, Pacino returned to the theater inHughie.[190][191]Hughie was initially supposed to have fewer regular performances than previews,[192][193] but the play was extended several times,[194][195] ultimately running until November 1996.[190]
On July 24, 1996, Mann announced that he would resign, although he and Abady would remain as artistic directors untilHughie closed.[188][196] The same day, the theater's acting presidentTheodore R. Sayers announced that the theatrical company had filed for bankruptcy.[197][198] At the time, the theater had $1.5 million in debt, in addition to $2 million in unpaid taxes.[199] The company hiredGregory Mosher as its new producer in September 1996,[195][200] and Circle officials simultaneously asked Abady to resign.[189][200] Mosher and executive producerM. Edgar Rosenblum attempted to attract a wider audience by selling discounted tickets to anyone who purchased $37.50 annual memberships;[189][201] they gave away about 12,000 memberships this way.[202] Mosher also scrapped the proposed 1996–1997 season and announced plans to stage the playStanley, which had been successful on London'sWest End.[189][203]Stanley opened in February 1997[187] and was moderately successful,[202][204] running for two months.[205]
Mosher, who admired the Circle's thrust stage, had wanted to stage a revival of theOdyssey for 1997–1998.[203] Sayers resigned from his position in May 1997.[206] By then, observers expressed concerns that the theater had not announced any plays for the upcoming season.[207] The theater's board voted to suspend operations on June 17, 1997, when Mosher and Rosenblum both resigned.[199][207] A major factor in this decision was the theater's inability to payback taxes,[199] Investment bankerWilbur Ross Jr., a consultant for the theater, said at the time that the theater was unlikely to reopen unless it paid off its $1.5 million debt, as well as a $1.8 million lien that theInternal Revenue Service had placed on the theater.[207] The next month, the theater's creditors attempted to secure a new operator;[176] this was complicated by the fact that Mann and Libin had also claimed control of the theater's lease.[97][177] Abady sued two of the theater's board members in early 1998, claiming that her termination was a breach of contract.[208]
A federal bankruptcy judge ruled in May 1998 that Libin and Mann could retain control of the Circle.[209] Subsequently, the men began looking for tenants; by August 1998, there were rumors that the Manhattan Theatre Club, which was looking for a Broadway house, would move into the space.[209][210] Ultimately, the Circle was reorganized as an independent commercialreceiving house, making it one of the few independent Broadway theaters at the time.[211] The theater was scheduled to reopen for the 1998–1999 season with Tennessee Williams'sNot About Nightingales,[212] which opened in February 1999.[213][214] Quintero died several hours after the theater reopened;[34][215] the theater hosted an event in his honor a few months later.[18][215] During late 1999, the theater space was leased toHBO, which used the space for tapingThe Chris Rock Show.[211]
TheWilliam Gibson playThe Miracle Worker ran at the Circle for 28 performances in early 2010,[234][235] followed the same year by theEric Simonson playLombardi.[236][237] The Circle next staged the musicalGodspell, which opened in November 2011[238][239] and ran for several months.[240] It was followed by two relatively short-lived shows: the musicalSoul Doctor, which had 66 performances in late 2013,[241][242] and the playBronx Bombers, which ran for less than a month in early 2014.[243][244] The Circle also hosted two more successful plays in 2014:Lady Day at Emerson's Bar and Grill[245][246] andThe River,[247][248] both of which recouped their production costs.[249]The River set the theater's current box-office record as of 2023[update], earning $917,000 on opening week in November 2014.[250] The theater then hosted the musicalFun Home, which opened in 2015 and ran for more than a year,[251][252] and the musicalIn Transit, which opened in 2016 and lasted 181 performances.[253][254] At the end of the decade, the Circle hosted two musical revivals:Once on This Island, which ran from November 2017 to January 2019,[255][256] and an adaptation ofOklahoma!, which ran from April 2019 to January 2020.[257][258]
The theatre temporarilyclosed on March 12, 2020, due to theCOVID-19 pandemic.[259] It reopened on September 23, 2021, with previews ofChicken & Biscuits,[260][261] which ran through November 2021.[262][263] Next, the Circle hosted a revival of the playAmerican Buffalo,[264] which ran from April to July 2022.[10][265] By then, the Circle was the only remaining Broadway theater that was not operated by either a nonprofit company or a large organization.[10] The musicalKPOP opened at the theater in November 2022,[266][267] but it lasted for only two weeks.[266][268] A limited engagement of the concertMelissa Etheridge: My Window opened at the Circle in the Square in September 2023.[269]Henrik Ibsen's playAn Enemy of the People opened at the theater in March 2024, running for three months;[270] it was followed in October by a limited-run revival ofRomeo and Juliet.[271] Afterward, the musicalJust in Time opened at the theater in April 2025.[272] Libin remained the theater's president until his death in June 2025.[273][274]
This list only includes shows performed at the Circle in the Square's Sheridan Square and Bleecker Street theaters, not those performed by the company at other theaters. Productions are listed by the year of their first performance.[280]
This list only includes shows performed at the Circle in the Square's Paramount Plaza theater, not those performed by the company at other theaters. Productions are listed by the year of their first performance.[306][11]
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Mann, Theodore; Musilli, John; Croyden, Margaret (2007).Journeys in the Night : Creating a New American Theatre With Circle in the Square : a Memoir. New York: Applause Theatre & Cinema Books.ISBN978-1-55783-645-8.OCLC85862502.
Harvey Fierstein / Marco Paguia, David Oquendo, Renesito Avich, Gustavo Schartz, Javier Días, Román Diaz, Mauricio Herrera, Jesus Ricardo, Eddie Venegas, Hery Paz, and Leonardo Reyna / Jamie Harrison, Chris Fisher, Gary Beestone, and Edward Pierce (2025)
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