Marc Connelly was an American playwright and author with a career spanning several decades, marked by notable collaborations and creative accomplishments. Born into a theatrical family, he was imbued with a love for the stage from a young age. His life and work were profoundly influenced by the vibrant world of theater and literary camaraderie he found in places like New York's Algonquin Hotel.

Early Life and Influences

Born on December 13, 1890, Marcus Cook Connelly came into a world already steeped in the performing arts. His parents, Patrick Joseph and Mabel Louise Fowler Connelly, were touring actors who had settled in McKeesport, Pennsylvania, following the loss of their first child, a tragedy they attributed to the rigors of life on the road. Young Marc grew up in a milieu where the theater was revered, gaining an appreciation that he likened to attending a "rare church where pure magic may occur at any moment." His father, who managed the White Hotel—a popular haunt for traveling performers—played a significant role in nurturing this early fascination.

Career Beginnings and Early Work

Tragedy struck again when Connelly's father passed away from pneumonia when Marc was just twelve. The subsequent failure of the White Hotel in 1908 dashed his aspirations for higher education. Relocating to Pittsburgh with his mother, he embarked on a journalism career, working his way up to become a drama critic and columnist for the Pittsburgh Gazette Times. In his free time, Connelly was deeply involved in theatrical productions, writing and directing skits for local clubs. His first significant break came in 1913 with the lyrics for The Lady of Luzon, catching the attention of steel magnate Joseph Riter, who commissioned Connelly to contribute to a Broadway production. Despite the initial failure of The Amber Princess, Connelly's passion for theater remained undeterred.

Partnership with George S. Kaufman

Connelly's career took a pivotal turn in 1917 when he crossed paths with George S. Kaufman, a fellow critic and aspiring playwright. Their collaboration began with Dulcy in 1921, a hit that ran for 246 performances and cemented their reputation as a formidable writing duo. They followed this with To the Ladies, another success, and though The Deep Tangled Wildwood did not fare well, they hit their stride with Merton of the Movies, which enjoyed a significant run. This period was marked by creative experimentation and the growth of Connelly’s influence in the theatrical world.

The Algonquin Round Table

During this time, Connelly became an integral part of the Algonquin Round Table, a gathering of literary and theatrical luminaries. This group, including the likes of Robert Benchley and Dorothy Parker, was known for their sharp wit and cultural contributions. Connelly's involvement with these influential figures coincided with his contributions to The New Yorker, a publication he helped to found in 1925, where he published numerous essays and stories.

Broadway and Beyond

Continuing his partnership with Kaufman, Connelly worked on several more plays, including musical comedies like Helen of Troy, N.Y. and Be Yourself. Their collaboration culminated in the fantasy play Beggar on Horseback. Although their partnership ended amicably after Be Yourself, both playwrights remained lifelong friends. Connelly ventured to Hollywood to write a screenplay and returned to Broadway to direct his own plays, such as The Wisdom Tooth, further consolidating his directorial prowess.

A Landmark Achievement: The Green Pastures

Connelly's most notable achievement came with The Green Pastures , inspired by Roark Bradford's stories. Despite initial challenges in securing support due to its controversial themes, the play debuted in 1930 to critical acclaim, performing...