{"id":806,"date":"1978-02-25T16:00:12","date_gmt":"1978-02-25T21:00:12","guid":{"rendered":"https:\/\/performingartslegacy.org\/dalton\/?p=806"},"modified":"2020-05-18T11:51:07","modified_gmt":"2020-05-18T15:51:07","slug":"off-off-broadway","status":"publish","type":"post","link":"https:\/\/performingartslegacy.org\/dalton\/off-off-broadway\/","title":{"rendered":"Off-Off-Broadway (1978-1999)"},"content":{"rendered":"

You can make a killing in the theater, but not a living.<\/p>\n

Robert Anderson<\/p><\/blockquote>\n

FATHER UXBRIDGE WANTS TO MARRY \u00a0\u00a0<\/b>(1980)<\/h2>\n\n

Entering the lobby of the Ansonia always takes me back to a grander time when New York City was glamorous and prosperous.\u00a0 <\/span>This opulent Beaux-Art style building was originally designed to be the grandest hotel in Manhattan.\u00a0 <\/span>However, like the rest of the city, it\u2019s sort of gone to seed and is now home to artists of every ilk and acts as part of the New York campus for the American Musical and Dramatic Academy.\u00a0 <\/span>The lobby has a fountain that used to house real live seals and a grand sweeping stairway.\u00a0 <\/span>And even though Plato\u2019s Retreat, the private swinger sex club, is also located in the building, you\u2019d never know it as it has a private entrance on the north side of the building.\u00a0<\/span><\/p>\n

The 3 Muses Theatre is located off the lobby and when I open the large double doors leading into the 99-seat Off-Off Broadway theatre I smile.\u00a0 <\/span>I love this quaint little theatre with its red velvet seats, ornate design, and proscenium arch.\u00a0 <\/span>This is a huge step up from the Nameless Theater where I did my last show that also housed a porno\/dominatrix show.\u00a0 <\/span>I\u2019m grateful to be working with my once New York roommate and fellow college thespian, Dinah.\u00a0 <\/span>Dinah is producing and directing Father Uxbridge Wants to Marry <\/i>and my husband is co-producing.<\/p>\n

\"\"

The State Newspaper c. 1980<\/p><\/div>\n

Everything about our production is top-notch.\u00a0 <\/span>We have excellent actors and a good script.\u00a0 My husband’s<\/span>\u00a0friend, Mariana Cook, is an amazing photographer, a protege of Ansel Adams, and she does museum-quality black and white production shots.\u00a0 We<\/span>\u00a0put these amazing photos into a press packet and send them out. \u00a0<\/span><\/p>\n

I play Debden.\u00a0 <\/span>Debden\u2019s the girlfriend of the lead character, Morden, an elevator operator who\u2019s losing his job due to automation.\u00a0 <\/span>Debden was injured in a car accident that killed her husband leaving her alone to care for their young daughter.\u00a0 <\/span>Due to the accident, Debden walks with a limp and she\u2019s in the process of leaving Morden.<\/p>\n

\"\"

Jill Dalton (Debden) and Alex Coleman (Morden) \u00a9 Mariana Cook 1980<\/p><\/div>\n

One evening the playwright, Frank Gagliano, came to a rehearsal and worked with us.\u00a0 <\/span>\u201cYou\u2019re gonna be a star,\u201d he tells me.\u00a0 <\/span>\u201cAll the actors in my plays become famous.\u201d\u00a0 <\/span>That was certainly the case of Raul Julia and Olympia Dukakis who were both in the original 1967 production of Father Uxbridge<\/i>. \u00a0<\/span><\/p>\n

Then we discover John Simon; the extremely influential and acerbic critic from New York Magazine<\/i> is coming opening night to review the show.\u00a0 <\/span>This is quite a coup.\u00a0 <\/span>A review from John Simon can make or break a show.\u00a0 <\/span>I\u2019m excited and petrified.\u00a0 <\/span>It\u2019s terrifying because John Simon is known for saying vicious things about actors especially women and the way they look.\u00a0 <\/span>I mean this is the guy who wrote, \u201cBarbara Streisand\u2019s nose cleaves the giant screen from east to west, bisects it from north to south. It zigzags across our horizon like a bolt of fleshy lightning\u201d and referred to Kathleen Turner as a \u201cbraying mantis.\u201d\u00a0<\/span><\/p>\n

Nonetheless, this is a huge coup for us.\u00a0 <\/span>We reserve two seats for Mr. Simon near the front, which we drape with wide purple satin ribbon, and hang reserve signs over them written in large Old English Gothic letters\u2013which ironically look kind of like they belong in a funeral procession.\u00a0 <\/span>On opening night when our stage manager comes backstage to call places he informs us,\u00a0 <\/span>\u201cMr. Simon\u2019s out there.\u00a0 <\/span>Have a great show and break a leg.\u201d \u00a0<\/span><\/p>\n

\"\"

Jill Dalton (Debden) and Alex Coleman (Morden) \u00a9 Mariana Cook 1980<\/p><\/div>\n

My stage fright kicks in and the butterflies in my stomach accelerate.\u00a0 <\/span>Honestly, I want to run screaming from the theater as far away as possible.\u00a0 <\/span>The show goes well, but at one point I have to go way downstage to do a monologue and I think, John Simon is out there, please don\u2019t let me suck.<\/p>\n

The next week my husband brings home a copy of New York Magazine, <\/i>\u201cLook what I found.\u201d\u00a0<\/span><\/p>\n

\u201cIs it in there?\u201d\u00a0 <\/span>I ask.<\/p>\n

\u201cYou want to read it?\u201d he says offering me the magazine. \u00a0<\/span><\/p>\n

\u201cNo, no, no, you read it.\u00a0 <\/span>I\u2019m scared.\u201d \u00a0<\/span><\/p>\n

Slowly and carefully he turns the pages like maybe there\u2019s a bomb inside until he locates the review. \u00a0<\/span><\/p>\n

\u201cDon\u2019t tell me if it\u2019s horrible.\u00a0 <\/span>I don\u2019t want to know.\u201d \u00a0<\/span><\/p>\n

He reads the entire review in silence then closes the magazine and places it on the coffee table. \u00a0<\/span><\/p>\n

\u201cWell\u2026?\u201d I ask.\u00a0 <\/span>\u201cHow bad is it?\u201d \u00a0<\/span><\/p>\n

\u201cI thought you didn\u2019t want to know.\u201d \u00a0<\/span><\/p>\n

\u201cWell\u2026not if it’s horrible, but of course, I want to know.\u201d \u00a0<\/span><\/p>\n

\u201cOkay,\u201d he says opening the magazine and flipping to the review, as I chew the cuticle of my thumbnail.<\/p>\n

\u201cIt\u2019s titled, \u2018Craft and Art\u2019 by John Simon.\u00a0 <\/span>Ready?\u201d<\/p>\n

Yes, I nod and give him a look like duh. \u00a0<\/span><\/p>\n

“It begins, ‘There was, however, a good deal of craft in the revival of Frank Gagliano\u2019s Father Uxbridge Wants to Marry, <\/i>somewhat revised from the 1967 original version, at the 3 Muses Theater, unfooortuuuuunatley,'” he says dragging out the word. \u201cUnfooortuuuuunatley,\u201d he says dragging the word out again, \u201cfor an all too limited run.\u201d \u00a0<\/span><\/p>\n

\u201cWhat?\u00a0 <\/span>That\u2019s promising.\u201d<\/p>\n

\u201cThen\u2026let\u2019s see\u2026he describes the plot.\u201d<\/p>\n

\u201cSkip that.\u00a0 <\/span>I know the plot.\u201d<\/p>\n

\u201cOh, FYI, he says your character is a woman of \u2018doubtful morals\u2019.\u201d<\/p>\n

\u201cThat\u2019s fine,\u201d I laugh. As long as he doesn\u2019t call me ugly or say I sucked.\u00a0 <\/span>Keep going.\u201d<\/p>\n

\"\"

LtoR: Mark Hamilton (Father Ongar), Jill Dalton (Debden) and Alex Coleman (Morden) \u00a9 Mariana Cook 1980<\/p><\/div>\n

\u201cOkay\u2026let\u2019s see\u2026oh, he says and I quote \u2018surprisingly well-acted\u2019\u2026and\u2026oh yeah\u2026\u2019 deserves a full-scale Off-Broadway revival.\u2019\u201d \u00a0<\/span><\/p>\n

\u201cWhat?\u00a0 <\/span>Yay!\u00a0 <\/span>Awesome!\u00a0 <\/span>This is huge!\u00a0 <\/span>Huge!\u201d And then it hits me,\u00a0<\/span>\u201cHey, let\u2019s extend the run.\u201d \u00a0<\/span><\/p>\n

\u201cWe can\u2019t do that.\u201d\u00a0<\/span><\/p>\n

\u201cWhy not?\u00a0 <\/span>We just got a great review from John Simon.\u00a0 <\/span>Come on.\u00a0 <\/span>We need to capitalize on this.\u201d \u00a0<\/span><\/p>\n

\u201cNope\u2026wish we could, but there\u2019s no money.\u201d\u00a0 <\/span>He says shaking his head. \u00a0\u201cWe need money to do that.\u201d\u00a0 \u00a0<\/span><\/p>\n

\u201cWhat about the box office money?\u201d \u00a0<\/span><\/p>\n

\u201cThat\u2019s Dinah\u2019s money.\u00a0 <\/span>Luckily, she broke even, but that\u2019s all.\u201d \u00a0<\/span><\/p>\n

\u201cShit.\u00a0 <\/span>Why does every frickin\u2019 thing come down to money?\u201d<\/p>\n

\u201cIt just does, Jill.\u00a0 <\/span>Just does.\u00a0 <\/span>You want to make money?\u00a0 <\/span>Get on a soap opera.\u201d<\/p>\n

\u201cAnd why\u2019s there no support for the arts in this country?\u00a0 <\/span>Huh?\u00a0 <\/span>England has a National Theater.\u00a0 <\/span>It\u2019s supported by their government.\u00a0 <\/span>We have the National Endowment with a minuscule budget that gets smaller every year and if our ex B-actor president Ray-Guns has anything to do with it the NEA will be completely obliterated. \u00a0I mean, what’s the point?\u00a0 <\/span>It doesn\u2019t matter if I do a horrible production or a first-rate one\u2026the result\u2019s the same.\u00a0 <\/span>It\u2019s so discouraging.\u00a0 <\/span>It reminds me of the old adage by playwright Robert Anderson, ‘You can make a killing in the theater, but not a living.’ \u00a0And that just sucks.”\u00a0\u00a0<\/span><\/p>\n

\"\"

Jill Dalton (Debden) & Alex Coleman (Morden) \u00a9 Mariana Cook 1980<\/p><\/div>\n\n

Theater Review by John Simon in New York Magazine<\/em>, September 1, 1980<\/p>\n

\"\"

Theater Review by John Simon in New York Magazine c. 1980<\/p><\/div>\n

TO BE YOUNG, GIFTED, AND BLACK<\/strong><\/h2>\n

by Lorraine Hansberry \u00a0(1981)<\/strong><\/p>\n

In 1981 I was cast to understudy Elizabeth McGovern in a production of \u201cTo Be Young, Gifted, and Black\u201d by Lorraine Hansberry at the Theatre Off Park. \u00a0Anna Deavere Smith was cast as an understudy in this production as well. \u00a0We spent a lot of time together watching rehearsals. \u00a0Lynne Godfrey (Eubie) directed the piece. \u00a0It was a stellar production.<\/p>\n

When I went to the first reading I saw this young, beautiful girl sitting there and I said, a little too enthusiastically, \u201d Hi!\u201d She smiled and said hi back. Then I sat down and thought to myself, do I know her? How do I know her? She looks so familiar and then I realized it was Elizabeth McGovern who I\u2019d seen in the mega-hit film \u201cOrdinary People,\u201d that in 1980 had won four Academy Awards: Best Picture, Best Director, Adapted Screenplay, and Supporting Actor. \u00a0I understudied Elizabeth and went on once during the run. She left a box of cookies for me at her make-up mirror. What a kind gesture.<\/p>\n

\"\"

Jill Dalton in “To Be Young, Gifted, and Black” c. 1981.<\/p><\/div>\n

Exxon came to see the play and put up the money to move it to a full Off-Broadway run, but they were unable to locate an empty theatre and after six months Exxon pulled out their backing.<\/p>\n

\"\"

LtoR: Ellen Tobie, Jill Dalton, and Carolyn Byrd in “To Be Young, Gifted, and Black” c. 1981<\/p><\/div>\n

This is a sampling of a few of the Off-Off-Broadway shows I did.<\/p>\n

. \u00a0 \u00a0. \u00a0 \u00a0.<\/strong><\/p>\n\n

SAVAGE IN LIMBO<\/strong><\/h2>\n

by John Patrick Shanley (1988)<\/strong><\/p>\n

In 1988 I was cast as April White in \u201cSavage in Limbo\u201d by John Patrick Shanley at the T. Schreiber Studio. \u00a0The play was directed by Steve Zimmer.<\/p>\n

I loved playing April White, the down on her luck alcoholic. I loved inhabiting that world with the rest of her down on their luck friends. I saw April as a fallen angel and although you can\u2019t see it in the photo my sweater has sequenced wings on the front. I found the sweater in a second-hand shop and thought it was perfect or her. I also put a little grease in my bangs like she hadn\u2019t washed her hair in a while.<\/p>\n

\"\"

David Licht and Jill Dalton (April White) in “Savage in Limbo” c. 1988.<\/p><\/div>\n

It was a great production with a stellar cast.<\/p>\n

. \u00a0 \u00a0. \u00a0 \u00a0.<\/strong><\/p>\n\n

ONE SHOE OFF<\/strong><\/h2>\n

by Tina Howe (1999)<\/strong><\/p>\n

In 1999 I became a member of TNT Repertory Company. \u00a0David Crommett was the artistic director. We were based in New York City and this was my first production with them that we took out of town.<\/p>\n

I know they say never read your reviews, but I always do.<\/p>\n

Ms. Dalton is perfect as she tries on and cast off clothing in an attempt to dress for dinner. \u00a0She never goes overboard, never gets hysterical or high pitched \u2014 a real danger with a part like this. \u00a0She steals the show with an aria she recites on the life of vegetables in the second act, as she tosses a salad large enough to feed the audience.<\/p>\n

Joseph F. Caputo, The Scranton Times<\/p><\/blockquote>\n

\"\"<\/p>\n

Sadly, after this amazing production, the group disbanded. No one contacted me to let us know. Instead, I was told David Crommett had been hired as a sportscaster and no longer had the time to continue with the group. It was extremely disappointing for me, as I loved working with this talented group of people.<\/p>\n","protected":false},"excerpt":{"rendered":"

You can make a killing in the theater, but not a living. Robert Anderson FATHER UXBRIDGE WANTS TO MARRY \u00a0\u00a0(1980) Entering the lobby of the Ansonia always takes me back to a grander time when New York City was glamorous and prosperous.\u00a0 This opulent Beaux-Art style building was originally designed to be the grandest hotel […]<\/p>\n","protected":false},"author":112,"featured_media":321,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[137],"tags":[],"class_list":["post-806","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-off-off-broadway"],"metadata":{"_edit_lock":["1589817070:112"],"_thumbnail_id":["321"],"_edit_last":["112"],"_wpac_members_redirect_to":[""],"_wpac_show_in_search":["0"],"_wpac_show_excerpt_in_search":["0"],"_wpac_nonmembers_redirect_to":[""],"_wp_old_date":["2019-03-25","1999-03-25","1999-02-25","1994-02-25"],"ase_map_component_start_point":["a:2:{s:3:\"lat\";d:29.76;s:3:\"lng\";d:-95.38;}"]},"acf":[],"yoast_head":"\nOff-Off-Broadway (1978-1999) - Jill Dalton<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/performingartslegacy.org\/dalton\/off-off-broadway\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Off-Off-Broadway (1978-1999) - Jill Dalton\" \/>\n<meta property=\"og:description\" content=\"You can make a killing in the theater, but not a living. Robert Anderson FATHER UXBRIDGE WANTS TO MARRY \u00a0\u00a0(1980) Entering the lobby of the Ansonia always takes me back to a grander time when New York City was glamorous and prosperous.\u00a0 This opulent Beaux-Art style building was originally designed to be the grandest hotel […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/performingartslegacy.org\/dalton\/off-off-broadway\/\" \/>\n<meta property=\"og:site_name\" content=\"Jill Dalton\" \/>\n<meta property=\"article:published_time\" content=\"1978-02-25T21:00:12+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-05-18T15:51:07+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/performingartslegacy.org\/dalton\/wp-content\/uploads\/sites\/109\/2019\/03\/Uxbridge.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"5270\" \/>\n\t<meta property=\"og:image:height\" content=\"3456\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Jill Dalton\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jill Dalton\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"9 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/off-off-broadway\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/off-off-broadway\\\/\"},\"author\":{\"name\":\"Jill Dalton\",\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/#\\\/schema\\\/person\\\/459a1516ad7ed0262188c75088cc5f69\"},\"headline\":\"Off-Off-Broadway (1978-1999)\",\"datePublished\":\"1978-02-25T21:00:12+00:00\",\"dateModified\":\"2020-05-18T15:51:07+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/off-off-broadway\\\/\"},\"wordCount\":1868,\"image\":{\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/off-off-broadway\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/wp-content\\\/uploads\\\/sites\\\/109\\\/2019\\\/03\\\/Uxbridge.jpeg\",\"articleSection\":[\"Off-Off Broadway\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/off-off-broadway\\\/\",\"url\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/off-off-broadway\\\/\",\"name\":\"Off-Off-Broadway (1978-1999) - Jill Dalton\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/off-off-broadway\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/off-off-broadway\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/wp-content\\\/uploads\\\/sites\\\/109\\\/2019\\\/03\\\/Uxbridge.jpeg\",\"datePublished\":\"1978-02-25T21:00:12+00:00\",\"dateModified\":\"2020-05-18T15:51:07+00:00\",\"author\":{\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/#\\\/schema\\\/person\\\/459a1516ad7ed0262188c75088cc5f69\"},\"breadcrumb\":{\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/off-off-broadway\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/off-off-broadway\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/off-off-broadway\\\/#primaryimage\",\"url\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/wp-content\\\/uploads\\\/sites\\\/109\\\/2019\\\/03\\\/Uxbridge.jpeg\",\"contentUrl\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/wp-content\\\/uploads\\\/sites\\\/109\\\/2019\\\/03\\\/Uxbridge.jpeg\",\"width\":5270,\"height\":3456},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/off-off-broadway\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Off-Off-Broadway (1978-1999)\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/#website\",\"url\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/\",\"name\":\"Jill Dalton\",\"description\":\"A Performing Arts Legacy Project site\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/#\\\/schema\\\/person\\\/459a1516ad7ed0262188c75088cc5f69\",\"name\":\"Jill Dalton\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/21943c1359f2e06a84426febee76e445603fd202f68cafaa88f30b375e268e3c?s=96&d=blank&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/21943c1359f2e06a84426febee76e445603fd202f68cafaa88f30b375e268e3c?s=96&d=blank&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/21943c1359f2e06a84426febee76e445603fd202f68cafaa88f30b375e268e3c?s=96&d=blank&r=g\",\"caption\":\"Jill Dalton\"},\"url\":\"https:\\\/\\\/performingartslegacy.org\\\/dalton\\\/author\\\/dalton\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Off-Off-Broadway (1978-1999) - Jill Dalton","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/performingartslegacy.org\/dalton\/off-off-broadway\/","og_locale":"en_US","og_type":"article","og_title":"Off-Off-Broadway (1978-1999) - Jill Dalton","og_description":"You can make a killing in the theater, but not a living. Robert Anderson FATHER UXBRIDGE WANTS TO MARRY \u00a0\u00a0(1980) Entering the lobby of the Ansonia always takes me back to a grander time when New York City was glamorous and prosperous.\u00a0 This opulent Beaux-Art style building was originally designed to be the grandest hotel […]","og_url":"https:\/\/performingartslegacy.org\/dalton\/off-off-broadway\/","og_site_name":"Jill Dalton","article_published_time":"1978-02-25T21:00:12+00:00","article_modified_time":"2020-05-18T15:51:07+00:00","og_image":[{"width":5270,"height":3456,"url":"https:\/\/performingartslegacy.org\/dalton\/wp-content\/uploads\/sites\/109\/2019\/03\/Uxbridge.jpeg","type":"image\/jpeg"}],"author":"Jill Dalton","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Jill Dalton","Est. reading time":"9 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/performingartslegacy.org\/dalton\/off-off-broadway\/#article","isPartOf":{"@id":"https:\/\/performingartslegacy.org\/dalton\/off-off-broadway\/"},"author":{"name":"Jill Dalton","@id":"https:\/\/performingartslegacy.org\/dalton\/#\/schema\/person\/459a1516ad7ed0262188c75088cc5f69"},"headline":"Off-Off-Broadway (1978-1999)","datePublished":"1978-02-25T21:00:12+00:00","dateModified":"2020-05-18T15:51:07+00:00","mainEntityOfPage":{"@id":"https:\/\/performingartslegacy.org\/dalton\/off-off-broadway\/"},"wordCount":1868,"image":{"@id":"https:\/\/performingartslegacy.org\/dalton\/off-off-broadway\/#primaryimage"},"thumbnailUrl":"https:\/\/performingartslegacy.org\/dalton\/wp-content\/uploads\/sites\/109\/2019\/03\/Uxbridge.jpeg","articleSection":["Off-Off Broadway"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/performingartslegacy.org\/dalton\/off-off-broadway\/","url":"https:\/\/performingartslegacy.org\/dalton\/off-off-broadway\/","name":"Off-Off-Broadway (1978-1999) - Jill Dalton","isPartOf":{"@id":"https:\/\/performingartslegacy.org\/dalton\/#website"},"primaryImageOfPage":{"@id":"https:\/\/performingartslegacy.org\/dalton\/off-off-broadway\/#primaryimage"},"image":{"@id":"https:\/\/performingartslegacy.org\/dalton\/off-off-broadway\/#primaryimage"},"thumbnailUrl":"https:\/\/performingartslegacy.org\/dalton\/wp-content\/uploads\/sites\/109\/2019\/03\/Uxbridge.jpeg","datePublished":"1978-02-25T21:00:12+00:00","dateModified":"2020-05-18T15:51:07+00:00","author":{"@id":"https:\/\/performingartslegacy.org\/dalton\/#\/schema\/person\/459a1516ad7ed0262188c75088cc5f69"},"breadcrumb":{"@id":"https:\/\/performingartslegacy.org\/dalton\/off-off-broadway\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/performingartslegacy.org\/dalton\/off-off-broadway\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/performingartslegacy.org\/dalton\/off-off-broadway\/#primaryimage","url":"https:\/\/performingartslegacy.org\/dalton\/wp-content\/uploads\/sites\/109\/2019\/03\/Uxbridge.jpeg","contentUrl":"https:\/\/performingartslegacy.org\/dalton\/wp-content\/uploads\/sites\/109\/2019\/03\/Uxbridge.jpeg","width":5270,"height":3456},{"@type":"BreadcrumbList","@id":"https:\/\/performingartslegacy.org\/dalton\/off-off-broadway\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/performingartslegacy.org\/dalton\/"},{"@type":"ListItem","position":2,"name":"Off-Off-Broadway (1978-1999)"}]},{"@type":"WebSite","@id":"https:\/\/performingartslegacy.org\/dalton\/#website","url":"https:\/\/performingartslegacy.org\/dalton\/","name":"Jill Dalton","description":"A Performing Arts Legacy Project site","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/performingartslegacy.org\/dalton\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/performingartslegacy.org\/dalton\/#\/schema\/person\/459a1516ad7ed0262188c75088cc5f69","name":"Jill Dalton","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/21943c1359f2e06a84426febee76e445603fd202f68cafaa88f30b375e268e3c?s=96&d=blank&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/21943c1359f2e06a84426febee76e445603fd202f68cafaa88f30b375e268e3c?s=96&d=blank&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/21943c1359f2e06a84426febee76e445603fd202f68cafaa88f30b375e268e3c?s=96&d=blank&r=g","caption":"Jill Dalton"},"url":"https:\/\/performingartslegacy.org\/dalton\/author\/dalton\/"}]}},"_links":{"self":[{"href":"https:\/\/performingartslegacy.org\/dalton\/wp-json\/wp\/v2\/posts\/806","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/performingartslegacy.org\/dalton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/performingartslegacy.org\/dalton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/performingartslegacy.org\/dalton\/wp-json\/wp\/v2\/users\/112"}],"replies":[{"embeddable":true,"href":"https:\/\/performingartslegacy.org\/dalton\/wp-json\/wp\/v2\/comments?post=806"}],"version-history":[{"count":0,"href":"https:\/\/performingartslegacy.org\/dalton\/wp-json\/wp\/v2\/posts\/806\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/performingartslegacy.org\/dalton\/wp-json\/wp\/v2\/media\/321"}],"wp:attachment":[{"href":"https:\/\/performingartslegacy.org\/dalton\/wp-json\/wp\/v2\/media?parent=806"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/performingartslegacy.org\/dalton\/wp-json\/wp\/v2\/categories?post=806"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/performingartslegacy.org\/dalton\/wp-json\/wp\/v2\/tags?post=806"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}