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MARTIN AGRONSKY (1915-1999)
As highly regarded political commentator and host on radio and television, Mr. Agronsky was behind a microphone as a professional broadcaster for 47 years. He hosted popular shows including CBS's Face the Nation, NBC's Meet the Press and the capstone of his career, Agronsky & Company. He served wisely and well for many years as a trustee of the National Theatre, bringing his analytical mind, his good business sense, and his ever-ready wit, to the meetings of the board.

KATHLEEN BARRY (1940-2004)
As the producer of the free SATURDAY MORNING AT THE NATIONAL and MONDAY NIGHT AT THE NATIONAL programs from their inception in 1979 through the spring of 1995, Ms. Barry introduced countless performers in the Helen Hayes Gallery. She also masterminded a FESTIVAL OF AMERICAN SONG, which was presented for a single free performance on the mainstage, and for several mainstage free vaudeville salutes to MARTIN LUTHER KING, JR., featuring local performing artists. At the height of the break-dancing craze, she produced a National Theatre Break-Dance contest which brought an audience of several thousand people to Freedom Plaza and the surrounding streets.  Her programs invariably reflected her dynamic and infectious enthusiasm, her eye for fresh talent, and her imaginative and mischievous juxtaposition of serious artistry and pure fun.

JIMMY BEAN
A long career at the National Theatre began for Jimmy Bean when, as a young usher, he was assigned to assist President Franklin Delano Roosevelt enter the theatre. During the 1930's and 40's, the Star Box on the audience's left could be accessed from a fire escape just outside an exit next to the box. It was Jimmy's responsibility to stand with a flashlight ready to open the door and admit the Presidential Party only after the house lights were dimmed. To shield the President's incapacitation from the public, his wheelchair was rolled into the box, or the President lifted into a theatre chair, only in the darkness. Jimmy worked at the theatre for the rest of his career.

ROBERT M. BEERS ( 1913-1997)
Mr. Beers was a pianist, an incomparable raconteur, and one of our most sought after National Theatre Vaudeville performers. Mr. Beers presented a scintillating retrospective of the Broadway musical theatre from 1920 to 1960. He provided commentary on the principal productions, composers and lyricists of the period, illustrated with original piano arrangements of the most popular songs. Mr. Beers responded to requests from the audience - playing from his 1,000-song repertoire drawn from the rich musical heritage of those years. He played many engagements on behalf of the National Theatre, particularly delighting senior citizens who found inspiration and encouragement in his talent and his great zest for life.

HANNA-LEAH BOTSFORD (1908-1996)
Mrs. Botsford was an ardent theatre lover who served for several years at the very end of her life as receptionist and all-around assistant in the Executive Office. Her faithful weekly arrival, often accompanied by a big plate of fudge, was an occasion for celebration. Hanna-Leah's insatiable interest in life, and her intrepid attack on it, were memorable. In the last year of her life she was still driving her automobile not only to the National, but to theatres, concert halls and galleries all over Washington. She was an extraordinary human being and a grand patron of the arts.

JOE COCHRAN (1912 -1996)
In the days before air-conditioning, when his father was manager of the National, Joe Cochran was a water boy, carrying cups of water at the intermission to the grateful patrons. He subsequently became a drummer with the National Theatre Orchestra, and was a regular in the pit for many years. In later life, Joe returned to the National with his band as a performer with the National Theatre Community Vaudeville program.

S.E. "STEVE" COCHRAN (1898- )
Mr. Cochran was a legendary manager of the National. Under his tenure the theatre developed its own repertory company, in which such luminaries as Helen Hayes, Hume Cronin and Jessica Tandy starred in some of their earliest stage appearances. Mr. Cochran is credited with founding Olney Theatre, a popular summer theatre. Olney Center for the Performing Arts now gives performances year round, and is the State Theatre in Maryland.

RICHARD L. COE (1914-1995 )
A longtime critic of The Washington Post, Mr. Coe was renowned for the astute advice he gave to many pre-Broadway try-out companies at the National. His adroit and knowledgeable commentary is credited with persuading producers to make changes vital to the ultimate success of Hello, Dolly!, West Side Story, A Funny Thing Happened on the Way to the Forum and many other shows. Dick's enormous love of the theatre made him fierce when he thought that actors, directors or producers had not lived up to their best potential, but more often it made him sensitive to the nuances of good work, supportive of the best endeavors, and wise in educating audiences and encouraging their support of the live theatre.

OSCAR "BILL" CONN (1948-2002)
For more than 15 years, Bill Conn was Concessions Manager for the National Theatre. His efficiency, ready smile, and willingness to guide and support his staff made him a favorite with our patrons as well as with those who worked with him over the years. He had been a teacher, and operated his own private bar tending service. He was one of those exceptional people who make every encounter special, whether it was planning a party for the Corporation or just serving a single drink. He lived his life as a bright, generous, father, family man, and dedicated employee.

THOMAS FICHANDLER (1915 -1997)
Financial mastermind of the Arena Stage, Mr. Fichandler served also as a trustee of the National Theatre, bringing to the table his endless energy, astute business sense, and unquenchable optimism. Tom's love of the theatre, his encouragement and his enthusiasm for good performances was limitless.

HELEN HAYES (1900-1993)
Born in Washington, Miss Hayes, legendary actress and "First Lady of the American Theatre," stood more than once on the stage of the National, pointing high up toward the balcony, and recalling that it was in this theatre that she saw her first performance. When the show was over, she explained, her mother had to drag her away. "I didn't want to leave the theatre, and I guess I really never did." Helen returned many, many times to play at the National throughout her career which spanned some sixty years. Particularly memorable were her roles in Victoria Regina, The Glass Menagerie, and Time Remembered. The nation's official portrait of Miss Hayes, on loan from the National Portrait Gallery, is displayed at the theatre in the Helen Hayes Gallery. Read more about Helen Hayes.

PATRICK HAYES (1909-1998)
Mr. Hayes served as a trustee of the National Theatre. He was a major presenter and supporter of the performing arts in this city for may, many years, and was at the heart of the complex negotiations in 1974 which transferred operation of the National Theatre from a commercial corporation to a not-for-profit board of trustees. The National Theatre owes much to Patrick's knowledgeable vision and tireless effort. He loved this theatre and was a champion for all its causes. He was a great planner, a dauntless administrator, a gifted promoter of all good projects, and a glorious raconteur. Patrick's favorite acronym was EINO, which stood for inclusiveness: "Everyone In, Nobody Out!"

FRANCES HUMPHREY HOWARD (1914-2002)
Fran Howard was a tireless promoter of good causes and a long time trustee of the National Theatre. Sister of Vice President Hubert Humphrey, she was a vigorous Democrat, but joined enthusiastically in a variety of non-partisan causes. Had she not been busy with a world of other things, she might have been a great actress. She was larger than life and full of remarkable vitality. One can imagine the mischievous twinkle in her eye as Oscar Wilde's Lady Bracknell in The Importance of Being Earnest or her grandeur as Medea. She was among those who convinced the Italian government to contribute the white marble for the lobby of the theatre, and urged the board to support many other worthwhile projects. Read more about Frances.

BERNARD B. "Bernie" JACOBS (1916-1996)
Long the president of The Shubert Organizations, Mr. Jacobs' canny ability to spot successful shows, his extensive knowledge of theatrical production, his keen eye for the bottom line and his formidable skills as a negotiator made him one of the most important and influential people of his time in the American Theatre. He was intimately involved in the affairs and successes of the National Theatre for nearly two decades, combining a canny business acumen with good taste and an unerring sense for the public's theatrical taste.

JOSEPH JEFFERSON, III (1829-1905)
One of the most outstanding actors of the early American stage, known especially for his mesmerizing and often revived portrayal of Rip Van Winkle, Mr. Jefferson appeared at the National on many occasions. He also served for a time as manager of the National Theatre.

SCOTT KIRKPATRICK
Elegant in a white suit and matching shoes in the summer, or natty black attire in winter, Mr. Kirkpatrick was a manager of the National who greeted the audience graciously in the outer lobby at each performance, solving the occasional ticket mix-up with his deft manner and the charm of a true southern gentleman. His contacts in the Greater Washington area were numerous, and those who had the pleasure of his suave company remember him with great fondness.

MARGARET E. LYNN (1921-2002)
Margaret "Skippy" Lynn served for many as Treasurer of the National Theatre Corporation. She was a Radio City Rockette and Martha Graham dancer, with a Master's Degree in Speech and Drama from Catholic University. She appeared on Broadway in shows including Carousel and Oklahoma! and understudied Ethel Merman. Under commanding officer and stage director Josh Logan, she created entertainments for U.S. troops after World War II. She continued to conceive and direct shows during the Korean war, staging them sometimes under enemy artillery fire. Her efforts led to the establishment, in 1962, of the Army Music and Theatre Program, and she then supervised 200 directors worldwide. For Walt Disney World, she brought 1,100 dancers, singers and other entertainers to Florida for the opening of EPCOT Center in 1982.

JOHN McCULLOUGH ( -1885)
A distinguished actor, Mr. McCullough often at the National, in Shakespearean and other roles. The story of his purported murder in the National is recounted elsewhere, as he is revered (however apocryphally) as the "Ghost of the National Theatre," with his own page on this website.

ADOLPHE G. MEYER (1923-1991)
Mr. Meyer was beloved by his colleagues, and undoubtedly served longer in the National Box Office than anyone before him or since. His always cheery demeanor earned him the encomium, "A box office legend." His steady and competent manner calmed many ruffled and anxious patrons over scores of years.

THOMAS H. PAIGE (1928-2000)
Mr. Paige was for many years a stage hand at the National, and at the time of his retirement in 1994, he was the Head of Properties. Responsible for every item used by every actor in a show, he had to make sure that every prop was in the correct location at the correct moment, since one missing item could destroy the integrity of a scene. He was a loyal, dedicated and hardworking member of our National Theatre family. His work and contributions to the National Theatre were much like his personality, quiet and genial, but totally reliable and effective.

JOSEPH MICHAEL REYNOLDS (-2002)
For many years, Mikey Reynolds was Head Flyman at the National Theatre. In this capacity he was responsible for the expert timing which is essential to having each piece of hanging scenery fly in and out at a precise moment. Moreover, he bore the enormous responsibility involved in controlling the movement of pipes carrying many thousands of pounds of lighting equipment and scenery high over the heads of the actors and other stage hands. In the instance of Crazy for You, one set alone, consisting of 15 dressing rooms occupied by actors, weighed several tons. In other productions, such as Cats, actors who were "flown" on wires, placed their lives literally in the hands of Mike and his crews.

JOHN JEROME "JACK" RYAN (1920-2000)
When the National Theatre Corporation Board was formed in 1979, the John F. Kennedy Center was managing the theatre, and Roger L. Stevens invited Jack Ryan to serve as a trustee. Jack accepted, and continued in that capacity until the end of his life. Born in Washington, DC, Jack served during the Indo-China campaign as a Captain in the United States Army. As a stage hand, he served as President of Local #22 of the International Alliance of Stage Employees from 1957 to 1990. In 1972 he became 11th Vice President of I.A.T.S.E, and some 25 years later he became 2nd Vice President. He was a skilled negotiator devoted to trade unionism, and he brought considerable expertise and good sense to the National Theatre board. With his wife, Aleyse, he had four children.

BESS DAVIS SCHREINER
was, for 24 years the doyen of the Theatre Guild/American Theatre Society subscription service. In the heady days before television, she kept track of hundreds of evening patrons and matinee-lady subscribers, tracing lost tickets, smoothing ruffled nerves, and enlisting enormous audiences in support of live theatre.

ROGER L. STEVENS (1910-1998)
In 1974, the downtown area of the nation's capital had become unfashionable, and the National was failing as a commercial theatre. It was the enterprising Mr. Stevens, Chairman of the John F. Kennedy Center for the Performing Arts (and onetime owner of The Empire State Building) who created a not-for-profit corporation which took over the theatre's operation. Without Roger's interest, enormous energy, foresight and entrepreneurial skills, the theatre might not have survived.

HELEN TESKE ( -2000)
A familiar face at the box office for some 40 years, Helen Teske loved the patrons and loved the National Theatre. She worked industriously with Theatre Manager Richard "Rick" Schneider for many years to establish the National Theatre Archive, to which she made contributions of valuable theatre memorabilia including programs, flyers and photographs. The theatre is indebted to her for much early cataloguing of the theatre's collections.

NORMAN VAN FOSSEN ( -1997)
Mr. Van Fossen was for many years the official artist of the National Theatre, creating with meticulous attention to detail the hand-lettered show cards and large billboards which announced presentations at the theatre. His faithful renditions of show logos, and his handsome free-hand lettering were legendary. His is an art which is now much imitated by computers, but the results will never have the personal touch and individuality which Norman gave to his work. Many of his pieces are conserved in the National Theatre Archive.