Timothy Gray

Also credited on1 work

High Spirits

These come off the person record, which names a work and not a production. So we can say this name is attached to the work and we cannot say which staging, or in what capacity. For a composer or a writer that is the whole career we hold; there is no cast list to find them in.

In the literature5 passages

• “Book, music, and lyrics by Hugh Martin and Timothy Gray,” went the billing. Both men later acknowledged that Martin wrote the music and Gray the words for this musicalization of Noël Coward’s Blithe Spirit.Strippers, Showgirls, and Sharks - Peter Filichia
• Hugh Martin and Timothy Gray had wanted to adapt Noël Coward’s 1941 play Blithe Spirit as early as 1953, but permission was not granted until seven years later. In their musical version — initially titled Faster Than Sound — Beatrice Lillie (in her 13th and final Broadway appearance) portrayed the antic spiritualist Mme. Arcati who disrup…Broadway Musicals, Show By Show - Seventh Edition - Stanley Green & Cary Ginell
• Book, music and lyrics by Hugh Martin and Timothy Gray, based on the play Blithe Spirit by Noel CowardWest End Broadway_ The Golden Age of the American Musical in London - Adrian Wright
• PLAZA 9 MUSIC HALL Opened Thursday, June 6, 1972.* Costas Omer presents a Timothy Gray and William Justus production of:Theatre World, 1972-73 Season, v. 29 (Willis)
• ANYMORE Music, Lyrics, and Sketches by Hugh Martin and Timothy Gray; Director, Timothy Gray; Costumes, E. Huntington Parker, Stephen Chandler; Decor, Don Gordon; Lighting, Beverly Emmons; Gowns, Bruno Le Fantastique; Production Coordinator, Carl Thomas Gray; Pianist, Melvin PahlTheatre World, 1972-73 Season, v. 29 (Willis)

Passages naming this person, found by keyword across 178 books. A keyword match is not a biography, and a common name will pull in the wrong one.

What this page does not know

• What this person played. No cast list we hold records a character against a performer.
• Any staging. This name appears in no production cast list we hold, most often because the person was a writer, composer or designer rather than a performer.
• Any portrait. Most people in this catalogue don't have one, so this is the usual case rather than the exception.
• Which of the credits above the roles on this record (composer, lyricist, book writer) apply to. The roles sit on the person and never on a credit, so a director who also acted looks the same here as one who did not.