THE STORY OF THE EPISCOPAL ACTORS' GUILD

by Fran Handman*

1920s
On a cold blustery night in December 1923, a prestigious group of Broadway actors met with Randolph Ray, the Rector of the Church of the Transfiguration, and other trustees of the church to form the Episcopal Actors’ Guild, which would serve as a social and artistic center for its non-denominational members while quietly assisting, on a non-sectarian basis, those in need. Among the first leaders of the Guild were Mary Pickford, Douglas Fairbanks, Julia Marlowe and George Arliss, who was the first president of the Guild and an active participant in the formation of Actor’s Equity, four years earlier.  These were like-minded people, actors who have always been proactive in supporting the common good and a church that was one of the Underground Railway stops for escaped slaves during the pre-civil war days and a champion of those who came to them for refuge during the Civil War race riots in New York.   Later, in 1870, Joseph Jefferson, in approaching a church to conduct a funeral for his fellow actor, George Holland, was told by their priest, “Actors! We don’t do actors! There is a little church around the corner where it might be done.”  That “little church” was the Church of the Transfiguration, founded by the Rev. George Hendrik Houghton, who accepted the funeral without question. Across the country, newspapers reported the incident. Mark Twain wrote in The Galaxy, a monthly magazine of literature and entertainment, “a ludicrous satire . . . upon Christian charity,” The “Little Church” became a spiritual haven for actors, and many leading members of the theatre community adopted it, including the great Edwin Booth.
Originally, in tandem with the charity work of the Guild, there was much social activity.  With the exception of Saturdays there were daily candlelit teas, open to everyone, with sandwiches and cakes, served by the hostess of the day, where a neophyte actor could rub elbows with stars of the Broadway stage.  A monthly bridge game was set up and acting technique classes for young actors led by Peggy Wood were offered as well as a sewing class on Mondays for actresses who needed to make costumes for a role. Tableau curtains were installed at the Guild so that it could be converted into a miniature theater: dances, musical programs, play discussions and a variety of special entertainments were held at regular intervals.

​Father Randolph Ray, an enthusiastic fan of theatre and its actors had a very young Fred Astaire confirmed – the first confirmation for a member of the theatre - at the Little Church.  Later, the Guild paid Fred Astaire’s rent and his and Adele’s train fare to Hollywood. Astaire gave an annual donation to the Guild for the rest of his life.  Several future stars were helped at crucial times in their careers and later generously remembered the Guild with contributions and Bequests.

Father Ray’s cousin, Tallulah Bankhead, who said of herself that she “was pure as the driven slush,” often visited and the story goes that one time, on coming out of the church she was spotted by a passenger on a tourist bus who called out “There’s Tallulah Bankhead.”  “Omigod,” she said, “There goes my reputation.”

1930s
The Great Depression.  Vaudeville was on the way out and on Broadway Of Thee I Sing had a long run.  Ethel Merman made her debut in Girl Crazy.  She made headlines for holding a note in "I Got Rhythm" for 16 measures.

In 1930, to raise desperately needed money, the Guild came up with the idea of theatre parties, the first organization in NYC to offer the present type of theater party: buying a performance and reselling the tickets at a premium.

The Little Church was one of the few churches that addressed the crisis of hunger in the great Depression of the 30’s.  Though very low on funds they started handing out meal tickets at the lychgate to the first 100 people who showed up and arranged for them to be fed at Beefsteak John’s on 3rd ave where a 20 cent meal consisted of beef stew, potatoes, bread and coffee with occasional choice of scrambled eggs. Before a week was up the line had tripled and quadrupled forcing the Guild to appeal to the public. Contributions came in but couldn’t keep up with a breadline where 10 men sprang up where only one stood before. Actors and actresses of the Guild, after appearing in shows the night before, took turns getting up early in the morning, going down to the breadlines to hand out tickets: 
including Joan Blondell, Libby Holman, Raymond Massey, Madge Evans, the two Astaires and Peggy Wood. The advantage of the breadline over most of the others is that it was right off 5th avenue – the richest street in the world –and could not be ignored. City engineers in the planning dept. began to work until midnight devising construction projects large enough to employ some of these thousands of men.
​
Heywood Broun conceived the idea of presenting a benefit at the Imperial theater called Give a Job ‘til June. Texas Guinan was mistress of ceremonies, Broun, Winchell and Hellinger were alternate MCs. Among the stars were Rudi Vallee, Babe Ruth, Helen Morgan, Mae West, Harry Richmond and Eva LeGallienne. The show started at midnight, after all the stars had finished their evening performances, and went on until dawn. They made close to $8000 after expenses. The Guild received $900 of that which helped to clothe 89 people, provide shoes for 74, 17 to doctors and dentists and bought off a number of landlords.

In the late ‘30s there was a benefit bridge and fashion show at the Waldorf Astoria: tables were $5.00 and single tickets were $1.25.

1940s
The Attack on Pearl Harbor and the US entered World War II.   The time of Rosie the Riveter and the beginning of television.  On Broadway Pal Joey and Lady in the Dark had long runs and a new kind of musical, Oklahoma, exploded on the scene.  

The Guild was well represented in the Second World War by Guild members such as Cliff Robertson, Jason Robards and Charlton Heston who served in the Merchant Marines, the Navy and Army Air Force.

On the home front, EAG was occupied with their own war effort putting together bridge and entertainment benefits for the American Theater Wing War Service  Inc. and in our own Guild 
War Activities benefit in the grand Ballroom at the Plaza Hotel.  On April 22, 1943 EAG hosted a Lamb’s Servicemen’s Morale Corps’ benefit for servicemen of the United Nations.  And in that same year, Vinton Freedley, the Broadway producer of  Lady be Good, Oh, Kay, Funny Face and Girl Crazy, was elected president of EAG  The charitable programs continued,  as well as the afternoon teas attended by Broadway stars such as Basil Rathbone, Otis Skinner, Raymond Massey, Peggy Wood, Cornelia Otis Skinner and Katherine Cornell.  Annual fundraising Theatre Benefits became a yearly tradition at this time with a special twist.  Any Debutante who joined the newly formed Debutante Section of the EAG would be allotted a box seat during benefit performances. ​

1950s
The economy was exploding.  All those returning GI’s needed homes and an education, cars, appliances.  Women left the workforce and went back to being housewives.  Our boys got involved in another war, called a police action, in Korea and the golden age of the Rogers and Hammerstein, Lerner & Lowe Broadway musical was alive and well, including the emergence of a new young talent, Stephen Sondheim, in West Side Story and Gypsy.

At the Guild, Vinton Freedley continued as president. Though entertainment events and benefits went on as before, the focus increased on the Guild’s charitable work including financial aid 
to victims of McCarthyism, working performers who found themselves suddenly jobless.  Ray Heatherton, who later served as Guild’s president from 1974 to 1986, was the target of a blacklist in 1956 with the result that his television career was shut down until he was able to clear his name.   

Scholarships were instituted to selected students at the Professional Children’s School.  In a note to Helen Morrison, the Executive Secretary for the Guild, the Director of the School withdrew the name of Leslie Uggams as a recipient for a scholarship because she was making enough money to pay her own tuition.

1960s
The tumultuous 60’s ushered in Hair, The Age of Aquarius, the flower child, the election of John F. Kennedy, the Camelot president,  peace marches, assassinations, the war in Vietnam, Betty Friedan’s The Feminine Mystique, and the first manned space ship to the moon.

Vinton Freedley continued as president of the Guild until 1968, a year before his death in 1969.  A Vinton Freedley Memorial Scholarship was established to be given to a drama student at 
the American Academy of Dramatic Arts.  Nicholas Pavlik, who heads up the Scholarship committee, recalls attending the Memorial service for Vinton Freedley, but arrived late. As he was standing at the back of the church looking for an empty seat, Ethel Merman, who was sitting with Janet Gaynor, Mary Martin and Claudette Colbert, spotted him and waved him over.  She then turned to Janet, Mary and Claudette and said, “Girls, move your asses.”  ​

1970s
The feminist movement flourished under the leadership of Betty Friedan and Gloria Steinem. The 70’s saw the end of the Vietnam war. We had Watergate, and Richard Nixon’s resignation.  It was the decade of Grease, Godspell, Jesus Christ Superstar and Sweeny Todd.

From 1971 to 1973 Charlton Heston was the president of the Guild, succeeded by Ray Heatherton. The 70’s brought the Guild several major bequests, and under Lon Clark, the executive director, the dedicated management of the Guild’s growing endowment during a favorable stock market enabled the Guild to increase the scope of its charitable activities as the
Guild leaned increasingly toward functioning as a charity.  Attendance at the teas and monthly bridge games was dwindling though fundraising events and benefits continued.  Norman Vincent Peale and Mildred Natwick were added to the prestigious roster of members on the Advisory Board in 1971.

A member of the Guild, Catherine Roskam founded the Joseph Jefferson Players with the mission of bringing to the public challenging, non-commercial plays as a project of the Episcopal Actors' Guild. The company performed in the "Little Church," and attracted such future names as Armand Assante and Rhea Perlman.

1980s
The Regan years saw the end of the cold war and the fall of the Berlin wall.  Over a million people were on the internet.  Les Miserables, Phantom of the Opera and Cats all opened in the 80’s as well as another two Sondheim musicals, Sunday in the Park with George and Into the Woods. 

Ray Heatherton continued as president until 1986, succeed by Barnard Hughes, the film and stage actor. The first edition of our newsletter, the Eaglet was published in 1989.  In an item in the newsletter Lon Clark, reporting on a program said, “We had to dig up a harpist on short notice, and dig her up we did.”  
Mart Hulswit responded, “We just brushed her off a bit and she played magnificently.”  Edward Crimmins, the Treasurer,  pointed out “ Just a slight correction, Lon. One doesn’t, strictly speaking, “dig up” harpists; one plucks them down.” In that same issue the announcement was made that Colleen Dewhurst would be giving the address at the Guild’s Annual Memorial Service, honoring all the members of the theatrical community who had died in the past year. Also, that Rex Harrison, a longstanding member and past vice-president of the Guild was returning to Broadway in the Circle after having been knighted by Queen Elizabeth. ​

1990s
The Clinton years.  The beginning of the widespread proliferation of new media such as the Internet. Nelson Mandela was released from jail after thirty years of imprisonment. Apartheid ended in South Africa.  Disney invaded Broadway with “Beauty and The Beast,” and “The Lion King.” 
Under Mart Hulswit, the Executive Secretary, the Guild entered the computer age and the HIV/AIDS relief program was created.  Mart’s legacy was continued and expanded under the aegis of Karen Lehman, the current Executive Director. ​

2000s
The Bush years, 9/11 -the bombing of the World Trade Towers.  Social media startups such as Facebook.  Globalization with the proliferation of the growth of the internet.  The war with Iraq and Afghanistan, the election of our first African-American president. On Broadway, revivals and more revivals, more Disney, movie adaptations, and Spring Awakening, Wicked and Assassins.

Beth Holland and Sam Waterston each served two-year terms as president. 

A contingent of Guild members volunteered in the early days after the World Trade bombing to help at the Trinity Church where exhausted first responders came for food, drink and encouragement.  The Bystander, by Meron Langsner, a Guild member, was a theater piece concerning events of 9/11/01, presented as a reading by Guild members.

By the early 2000’s the scholarship program, headed by Nicholas Pavlik, administered five yearly scholarships, four of which are given to deserving students at the American Academy of Dramatic Arts.  The fifth scholarship, George C. Scott Memorial Scholarship, was given to a University of Missouri student. We are working to endow a sixth scholarship in honor of Mart Hulswit.

In 2004 a “Last Supper” Passover Seder was served in Guild Hall on Palm Sunday, April 4th at 7:00 P.M.  A joint event of the Little Church and the Episcopal Actors’ Guild, it was presided over by new Guild member Rabbi Eric R. Braverman, M.D.   The meal included traditional items such as unleavened bread, wine, matzo ball soup and roast lamb and chicken which was cooked by Council member John Flood and Executive 
Secretary Mart Hulswit in the church kitchen.   

​In 2006, threatened by the possibility of the collapse of the rear wall of Guild Hall, EAG had to find a temporary home.  Thanks to the generosity of The Church of the Intercession on 155th Street, the Guild was able to relocate to their site until necessary repairs were made. To keep the Guild activities going during this time we had available to us a new stage venue, the headquarters of the American Federation of Musicians, A.F.M Local 802.  We finally made it back in November, 2008. 
​
In 2007 The Rt. Rev. Andrew St. John, was named the Seventh Rector of the Church of the Transfiguration.  

In 2007, the First Annual Thomas Barbour Memorial Playwright’s Award was inaugurated. 

In 2008, Karen Lehman became Executive Director and Matt Roberson started as Assistant Director.  Elowyn Castle, actress/director was elected President. 

And, as the Guild website was improved, a new feature was available – the EAG News Online. 

In 2009, in encouraging younger leadership, the YO PRO variety show made its debut featuring emerging, young talent as an ongoing, regularly scheduled activity, also featuring the MC talents of our executive and assistant directors, Karen Lehman and Matt Roberson.

Also in 2009, a Grants Writing Committee was formed for the purpose of applying for foundation grants which we have now tripled. ​

2010s
Barack Obama, our first black president, was reelected in 2012.  The US involvement in the Iraq war ended. On Broadway, the creators of South Park brought us The Book of Mormon. In 2015, a hip-hop musical, Hamilton, by Lin-Manuel Miranda took Broadway by storm with tickets running into the thousands.  In 2016, history was again made when Hillary Clinton was chosen to be the first woman candidate to run for president; her Republican opponent was Donald Trump.  In 2016, John Stewart stepped down from The Daily Show and Stephen Colbert succeeded David Letterman on The Late Show.

In 2013, the Guild celebrated its 90th anniversary with a gala that was hosted by Jim Dale and featured performances by Marni Nixon, Carol Lawrence, Sheila MacRae, our own Jennifer Fouché, and others. The following year, we played bingo in a gala featuring the cast of Broadway's Cabaret, Marilyn Sokol, Jim Brochu, with songs and music by Steve Ross.  
 
Elowyn Castle is our ongoing president and Karen and Matt continue as Executive Director and Assistant Director. In 2015 we added Rebecca Lovett to the team. In August 2015 – a new addition - Nova Grace, Karen’s daughter, was born.
 
During a continuing economic crisis, our client numbers have increased by 25%.  ​The core of the Guild’s work is performed by our Executive Director, Karen Lehman, who interviews, listens, enables, and gives aid to the performers who are increasingly turning to the Guild for help and moral support when the chips are down. 

Throughout the 2010's, we have added a number of new programs as we continue to search for new ways in which we can be of service to our clients:
In 2012, we introduced a new, popular, annual program – The Headshot Project - free headshots to our clients - thanks to Ahron Foster, a well-known photographer in the theatrical ​community. We had found that many of our clients were coming in with out-of-date, unusable head shots, but couldn’t afford the new ones necessary for their careers. We decided to step in and offer a free session with a professional photographer and a professional make-up artist, and provide a disc with all of their photographs, with free retouching on one photo, for which we’ve added the support of the city in a grant from the Department of Cultural Affairs.
 
In 2014, in response to an increasing number of our clients reporting a lack of food for themselves and their families, we initiated a food program called The Actors Pantry.  As part of our Emergency Aid & Relief Program, clients are eligible to select nutritious, high-quality food items from the pantry when they are here for other support services.  Our aim is to make the Actors Pantry available to our clients on a regular schedule for as long as they need it. 

In 2015, we started "Artist Afternoons," a free seminar series covering a variety of career development, performance, and self-care topics. These workshops are geared towards performers but open to the public. These weekday seminars take place either in our Manhattan headquarters or online via Zoom.

In 2017, we launched our Open Stage Grant program, offering theatre companies an opportunity to create and present work without the challenges that come with finding and maintaining affordable space.

2020s
The Episcopal Actors’ Guild continued providing much needed support to our community with the advent of the COVID-19 pandemic in the spring of 2020. In the fall of that year, Anthony Newfield was elected the tenth President of the Episcopal Actors’ Guild. In 2023, the Guild provided even more support to our community as performers were affected by the writers’ and actors’ strikes. The year 2023 found us celebrating the 100th anniversary of the founding of the Guild. As we enter our new century, our goal has remained the same: to keep performers working in the career of their choice.

We are the Episcopal Actors' Guild.   We're not all Episcopalians.  We are not all actors.  We are a collection of people of all denominations and none, from all walks of life, who have found a home in The Little Church Around the Corner with whom we share a love for the performer who gives of himself - herself - to make us laugh - to make us cry - and sometimes even shake us up to reach a broader vision of the world around us.


* Light edits to continue the story into the 2020s by Paul Bedard and former EAG President Anthony Newfield