Although the triple prizes for The Great White Hope (the Pulitzer Prize, the New York Drama Critics Circle Award, and a Tony Award) were the highlight of Howard Sackler’s career, they were by no means his first achievements. He had earlier received the Maxwell Anderson Award for his verse play Uriel Acosta, as well as Rockefeller Foundation and Littauer Foundation grants for work in his early twenties. A prolific director, especially of classical and verse plays, Sackler founded and became director of Caedmon Records in 1953, where he worked with the great British and American actors and authors whose work is now preserved in the Caedmon series. Sackler was busily employed in directing projects and screenwriting when, with The Great White Hope, he found the mature epic verse form that worked better onstage than any verse form since Maxwell Anderson. His contribution to American drama lies in the size and scope of his vision, his meticulous research on historical subjects and personalities, and the grace and rhythms of his language. After The Great White Hope, Sackler succeeded in the form with Semmelweiss, a harrowing study of the nineteenth century physician who discovered that examining doctors were spreading infection among their patients and who was ostracized and broken for his trouble. Because of production problems outside the script itself, Semmelweiss was not produced on Broadway; nevertheless, it remains one of the finest plays in modern dramatic literature. In 1980, Sackler’s last Broadway play, Goodbye Fidel, closed after poor reviews. At his death, Sackler was working on “Klondike,” a Gold Rush comedy.