Margo Jones (December 12, 1911 – July 24, 1955), nicknamed the "Texas Tornado", was an American stage director and producer, best known for launching the American regional theater movement and for introducing the theater-in-the-round concept in Dallas, Texas. In 1947, she established the first regional professional company when she opened Theatre '47 in Dallas. Of the 85 plays Jones staged during her Dallas career, 57 were new, and one-third of those new plays had a continued life on stage, television, and radio. Jones played an important role in the early careers of a range of playwrights, such as Tennessee Williams, William Inge, Joseph Hayes, Jerome Lawrence, and Robert E. Lee.
Early career Born Margaret Virginia Jones in Livingston, Texas, Jones worked in community and professional theaters in California, Houston, and New York City. "Since 1936, Margo Jones had served as assistant director of the Federal Theatre in Houston, traveled to Soviet Russia for a festival at the Moscow Art Theatre, and founded and directed the Houston Community Theatre. She had recently joined the faculty of the University of Texas's drama department in Austin (around 1942)." She traveled internationally, experiencing theater abroad, and eventually gained commercial success on Broadway as co-director of the original production of The Glass Menagerie by Tennessee Williams. She directed Williams' Summer and Smoke, a flop in its first production, but highly regarded years later. After she directed Maxwell Anderson's successful Joan of Lorraine, starring Ingrid Bergman as Joan of Arc, she was fired during the Washington, DC, tryout. However, her name remained on the marquee and playbills, and no other director was ever credited for the production. All three plays were filmed. Bergman repeated her Joan of Lorraine role in Joan of Arc (1948), for which she was Oscar-nominated. Geraldine Page was Oscar-nominated for her performance in Summer and Smoke (1961). Since 1950, at least five different film/TV productions of The Glass Menagerie have been made.
Theater '47 The success of The Glass Menagerie allowed her to take the next step toward her dream of running a repertory theatre outside of New York. She moved back to Dallas and opened Theatre '47. The theater changed its name to the corresponding year every New Year's Eve, but according to the New York Times, was more often simply called "Margo's". Her theater was in the sleek "Magnolia Lounge" (Magnolia Petroleum Company, later Mobil Oil) building, designed by Swiss-born architect William Lescaze, in 1936, for the Texas Centennial and situated on the grounds of Fair Park in Dallas. The theater was America's first modern nonprofit professional resident theater, and also the first professional arena theater (theater-in-the-round) in the country. Jones was inspired by Franklin Roosevelt's Depression-era National Theater Project and the European arts movement, which she had experienced directly during the 1930s. The resident company was dedicated to staging new plays and classics of world theater rather than revivals of past Broadway hits. The initial season introduced William Inge's first play, Farther Off from Heaven, later revised as The Dark at the Top of the Stairs. Though touring shows did exist at this time, no quality professional American theatre companies existed outside of New York. Jones believed in the decentralization of theater. She wanted her art to exist all across America, beyond the realm of commercialized Broadway, and this was a key component in the start of the regional-theatre movement. She reasoned, "If we succeeded in inspiring the operation of 30 theatres like ours, the playwright won't need Broadway." Playwrights Inge, Jerome Lawrence, and Robert E. Lee championed this sentiment when they received their first big breaks from Jones' Dallas theater. Jones envisioned it as a place where actors, writers, and technicians could have steady jobs and not be subject to the problems found in the volatile New York scene. When the Ford Foundation began giving grants outside of New York during the 1950s, the movement gathered momentum and Theatre '47 became the model of how to build a new company. In her book Theatre-in-the-Round, Jones outlined inexpensive methods to enable companies to get started, detailing valuable information on subscription sales, board development, programming, actor/artist relations, and other issues relevant to new regional-theatre companies. Her theater-in-the-round concept requires no stage curtain or little scenery, and allows the audience to sit on three sides of the stage. The physical space also requires particularly skilled blocking, directing, and acting: "Its mistakes are mistakes seen very close up." Theater-in-the-round staging was used for well-known shows as the original stage production of Man of La Mancha, and all plays staged at the ANTA Washington Square Theatre (demolished in the late 1960s), including Arthur Miller's autobiographical play After the Fall (1964), and through to this day.
Later career For eight years, Jones balanced her career between Broadway and regional projects. In Dallas, she staged the world premiere of Jerome Lawrence and Robert E. Lee's Inherit the Wind, a fictionalized retelling of the Scopes Monkey Trial, after it had been rejected by several Broadway producers. The play received rave reviews and subsequently opened on Broadway in April 1955, where it became a major hit. Inherit the Wind become an Oscar-nominated film in 1960 and has been revived as a TV special three times.
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