Night of January 16th
Night of January 16th | |
---|---|
Written by | Ayn Rand |
Characters |
|
Date premiered | October 22, 1934 | (as Woman on Trial)
Place premiered | Hollywood Playhouse |
Original language | English |
Genre | Courtroom drama |
Setting | A courtroom in New York City |
Night of January 16th (sometimes advertised as The Night of January 16th) is a
The play was first produced in 1934 in Los Angeles under the title Woman on Trial; it received positive reviews and enjoyed moderate commercial success. Producer
Rand had many heated disputes with Woods over script changes he wanted for the Broadway production. Their disputes climaxed in an arbitration hearing when Rand discovered Woods had diverted a portion of her royalties to pay for a script doctor. Rand disliked the changes made for the Broadway production and the version published for amateur productions, so in 1968 she re-edited the script for publication as the "definitive" version.
History
Background and first production
Rand drew inspiration for Night of January 16th from two sources. The first was The Trial of Mary Dugan, a 1927 melodrama about a showgirl prosecuted for killing her wealthy lover, which gave Rand the idea to write a play featuring a trial. Rand wanted her play's ending to depend on the result of the trial, rather than having a fixed final scene. She based her victim on Ivar Kreuger, a Swedish businessman known as the "Match King" for the matchstick-manufacturing monopolies he owned, before he was found dead in March 1932. When Kreuger's business empire became financially unstable, he shot himself after being accused of executing underhanded and possibly illegal financial deals. This incident inspired Rand to make the victim a businessman of great ambition and dubious character, who had given several people motives for his murder.[1]
Rand wrote Night of January 16th in 1933.
Soon after she rejected the offer from Woods, Rand accepted an offer from Welsh actor E. E. Clive to stage the play in Los Angeles. It first opened at the Hollywood Playhouse as Woman on Trial; Clive produced, and Barbara Bedford played Andre. The production opened on October 22, 1934,[11] and closed in late November.[12]
Broadway production
At the end of the play's run in Los Angeles, Woods renewed his offer to produce the play on Broadway. Although he was a renowned producer of many famous plays in a career of more than three decades, Woods had lost much of his fortune in the early 1930s[13] and had not produced a hit in several years.[14] Being refused by a neophyte author shocked him and increased his interest.[9][15] Woods still wanted the right to make script changes, but he made adjustments to the contract to give Rand more influence. She reluctantly agreed to his terms.[16][17]
Rand arrived in New York City at the beginning of December 1934 in anticipation of the opening in January. The play's financing failed, delaying the production for several months[18] until Woods arranged new financing from theater owner Lee Shubert.[19] When work resumed, Rand's relationship with Woods quickly soured as he demanded changes she later derided as "a junk heap of worn, irrelevant melodramatic devices".[17] Woods had made his success on Broadway with low-brow melodramas such as Nellie, the Beautiful Cloak Model and risqué comedies such as The Demi-Virgin. Woods was not interested in what he called Rand's "highfalutin speeches",[20] preferring the dramatic conflict to focus on concrete elements, such as whether the defendant had a gun. The changes to Rand's work included the creation of a new character, a gun moll played by Shubert's mistress.[19][20]
The contract between Woods and Rand allowed him to hire collaborators if he thought it necessary, paying them a limited portion of the author's royalties. He first hired John Hayden to direct, paying him one percentage point from Rand's 10-percent royalty. Although Hayden was a successful Broadway director, Rand disliked him and later called him "a very ratty Broadway hanger-on".[19][20] As auditions for the play began in Philadelphia, Woods demanded further script changes and was frustrated by Rand's refusal to make some of them. He engaged Louis Weitzenkorn, the author of the previous hit Five Star Final, to act as a script doctor. Rand's relationship with Weitzenkorn was worse than hers with Woods or Hayden; she and Weitzenkorn argued over political differences as well as his ideas for the play. Woods gave Weitzenkorn another percentage point from Rand's royalties without informing her. Rand filed a claim against Woods with the American Arbitration Association; she objected to Weitzenkorn receiving any portion of her royalties, and told the arbitration panel Weitzenkorn had added only a single line to the play, which was cut after the auditions. Upon hearing this testimony, one of the arbitrators responded incredulously, "That was all he did?"[20] In two hearings, the panel ruled that Weitzenkorn should receive his agreed-upon one percent,[21] but that Woods could not deduct the payment from Rand's royalties because she had not been notified in advance.[19][20][22] Despite the disputes between Rand and Woods, the play opened at Shubert's Ambassador Theatre on September 16, 1935, where it ran successfully for seven months. It closed on April 4, 1936, after 283 performances.[23]
Subsequent productions and publications
When the play's success on Broadway was clear, Woods launched productions of the play in other cities, starting with San Francisco. It opened there at the
International productions of the play included shows in London, Montreal, and Sydney. The production in London opened on September 29, 1936, where Phoebe Foster took the lead role for her first appearance on the London stage. It closed after 22 performances.[28] A production in Montreal opened on June 16, 1941, starring Fay Wray as Andre and Robert Wilcox as Regan.[29] In Sydney, the play opened at the Minerva Theatre on June 19, 1944, with Thelma Grigg as Andre.[30]
Night of January 16th was first published in an edition for amateur theater organizations in 1936, using a version edited by drama professor Nathaniel Edward Reeid,[31] which included further changes to eliminate elements such as swearing and smoking. Rand disavowed this version because of the changes.[32] In 1960, Rand's protégé Nathaniel Branden asked about doing a public reading of the play for students at the Nathaniel Branden Institute. Rand did not want him to use the amateur version; she created a revised text that eliminated most of Woods' and Reeid's changes. She had her "final, definitive version" published in 1968 with an introduction about the play's history.[33]
In 1972, Rand approved an off-Broadway revival of the play, which used her preferred version of the script, including several dozen further small changes in language beyond those in the 1968 version.
Night of January 16th was the last theatrical success for either Rand or Woods. Rand's next play, Ideal, went unsold,[38] and a 1940 stage adaptation of We the Living flopped.[39] Rand achieved lasting success and financial stability with her 1943 novel, The Fountainhead.[40] Woods produced several more plays; none were hits and when he died in 1951, he was bankrupt and living in a hotel.[13][41]
Synopsis
The plot of Night of January 16th centers on the trial of secretary Karen Andre for the murder of her employer, business executive Bjorn Faulkner, who defrauded his company of millions of dollars to invest in the gold trade. In the wake of a financial crash, he was facing bankruptcy. The play's events occur entirely in a courtroom; Faulkner is never seen. On the night of January 16, Faulkner and Andre were in the penthouse of the Faulkner Building in New York City, when Faulkner apparently fell to his death. Within the three acts, the prosecutor Mr. Flint and Andre's defense attorney Mr. Stevens call witnesses whose testimonies build conflicting stories.[a]
At the beginning of the first act, the judge asks the court clerk to call jurors from the audience. Once the jurors are seated, the prosecution argument begins. Flint explains that Andre was not just Faulkner's secretary, but also his lover. He says Faulkner jilted her to marry Nancy Lee Whitfield and fired Andre, motivating Andre to murder him. Flint then calls a series of witnesses, starting with the medical examiner, who testifies that Faulkner's body was so damaged by the fall that it was impossible to determine whether he was killed by the impact or was already dead. An elderly night watchman and a private investigator describe the events they saw that evening. A police inspector testifies to finding a suicide note. Faulkner's very religious housekeeper disapprovingly describes the sexual relationship between Andre and Faulkner, and says she saw Andre with another man after Faulkner's marriage. Nancy Lee testifies about her and Faulkner's courtship and marriage, portraying both as idyllic. The act ends with Andre speaking out of turn to accuse Nancy Lee of lying.
The second act continues the prosecution's case, with Flint calling John Graham Whitfield—Faulkner's father-in-law and president of Whitfield National Bank. He testifies about a large loan he made to Faulkner. In his cross-examination, defense attorney Stevens suggests the loan was used to buy Faulkner's marriage to Whitfield's daughter. After this testimony, the prosecution rests and the defense argument begins. A handwriting expert testifies about the signature on the suicide note. Faulkner's bookkeeper describes events between Andre's dismissal and the night of Faulkner's death, and related financial matters. Andre takes the stand and describes her relationship with Faulkner as both his lover and his partner in financial fraud. She says she did not resent his marriage because it was a business deal to secure credit from the Whitfield Bank. As she starts to explain the reasons for Faulkner's alleged suicide, she is interrupted by the arrival of "Guts" Regan, an infamous gangster, who tells Andre that Faulkner is dead. Despite being on trial for Faulkner's murder, Andre is shocked by this news and faints.
The final act continues Andre's testimony; she is now somber rather than defiant. She says that she, Faulkner, and Regan had conspired to fake Faulkner's suicide so they could escape with money stolen from Whitfield. Regan, who was also in love with Andre, provided the stolen body of his already-dead gang associate, "Lefty" O'Toole, to throw from the building. In cross-examination, Flint suggests Andre and Regan were using knowledge of past criminal activities to blackmail Faulkner. Stevens then calls Regan, who testifies that he was due to meet Faulkner at a getaway plane after leaving the stolen body with Andre; however, Faulkner did not arrive and the plane was missing. Instead of Faulkner, Regan encountered Whitfield, who gave him a check that was, according to Regan, to buy his silence. Regan later found the missing plane, which had been burned with what he presumes is Faulkner's body inside. Flint's cross-examination offers an alternative theory: Regan put the stolen body into the plane to create doubt about Andre's guilt, and the check from Whitfield was protection money to Regan's gang. In the play's Broadway and amateur versions, the next witness is Roberta Van Rensselaer, an exotic dancer and wife of O'Toole, who believes Regan killed her husband. This character does not appear in Rand's preferred version of the play.[17][43] Stevens then recalls two witnesses to follow up on issues from Regan's testimony. The defense and prosecution then give their closing arguments.
The jury retires to vote while the characters repeat highlights from their testimony under a spotlight. The jury then returns to announce its verdict. One of two short endings follows. If found not guilty, Andre thanks the jury. If found guilty, she says the jury have spared her from committing suicide. In Reeid's amateur version, after either verdict the judge berates the jurors for their bad judgment and declares that they cannot serve on a jury again.[44][45]
Title
Although best known as Night of January 16th, the play's title changed multiple times and several alternative titles were considered. Rand's working title was Penthouse Legend.[2] When Clive picked up the play, he thought Rand's title suggested a fantasy story that would discourage potential patrons.[15] The play was called The Verdict during the Hollywood Playhouse rehearsals,[11] but opened there with the title Woman on Trial. When Woods took the play to Broadway, he insisted on a new title. He offered Rand a choice between The Black Sedan and Night of January 16th. Rand liked neither, but picked the latter.[46] Woods later suggested two more name changes, but did not implement them. Prior to the opening, he considered renaming the play The Night is Young.[47] After the play opened, he considered changing its name each day to match the current date.[48]
When Rand published her version of the play in 1968, she wrote that although she disliked the Broadway title, it was too well known to change it again.[46] She agreed to using Penthouse Legend as the title for the 1973 revival production.[35]
Broadway cast and characters
The play's protagonist and lead female role is the defendant, Karen Andre.
Rand actively pushed for Walter Pidgeon to be cast in the role of "Guts" Regan. Woods objected at first, but eventually gave Pidgeon the part.[20] As with Nolan, reviewers approved the choice.[14] Pidgeon left the production after about a month to take a role in another play, There's Wisdom in Women.[54] Despite Rand's objections, he was replaced with William Bakewell; Rand recommended Morgan Conway, who played the same role in Woman on Trial.[55]
Character | Broadway cast[56] | Other notable performers |
---|---|---|
Bailiff | Donald Oliver | |
Judge Heath | J. Arthur Young | |
District Attorney Flint | Edmund Breese |
|
Defense Attorney Stevens | Robert Shayne | Boyd Irwin (Woman on Trial)[57] |
Clerk of Court | George Anderson | |
Dr. Kirkland | Edward Wing | |
John Hutchins | Calvin Thomas | |
Karen Andre |
|
|
Homer Van Fleet | Harry Short | |
Elmer Sweeney | Leo Kennedy | E. E. Clive (Woman on Trial)[59] |
Magda Svenson | Sarah Padden | |
Nancy Lee Faulkner | Verna Hillie | Mozelle Britton (Woman on Trial)[57] |
John Graham Whitfield | Clyde Fillmore | |
James Chandler | Maurice Morris | |
Siegurd Jungquist | Arthur Pierson | Don Beddoe (1936 London production)[60] |
Larry "Guts" Regan |
|
|
Roberta Van Rensselaer | Marcella Swanson |
Dramatic analysis
Jury element
The selection of a jury from the play's audience was the primary dramatic innovation of Night of January 16th.[12] It created concerns among many of the producers who considered and rejected the play. Although Woods liked the idea,[17] Hayden worried it would destroy the theatrical illusion; he feared audience members might refuse to participate. Successful jury selections during previews indicated this would not be a problem. This criticism dissipated following the play's success; it became famous for its "jury gimmick".[20]
The play's jury has sometimes enlisted famous participants; the Broadway selections were rigged to call on celebrities known to be in the audience.[52] The jury for the Broadway opening included attorney Edward J. Reilly—who was known from the Lindbergh kidnapping trial earlier that year—and boxing champion Jack Dempsey.[56] At a special performance for the blind, Helen Keller sat on the jury.[62] The practice of using celebrity jurors continued throughout the Broadway run and in other productions.[b]
Woods decided the jury for the Broadway run would employ some jury service rules of the New York courts. One such rule was the payment of jurors three dollars per day for their participation, which meant the selected audience members profited by at least 25 cents after subtracting the ticket price.[14] Another was that only men could serve on a jury, although Woods made exceptions, for example at the performance Keller attended. He later loosened the rule to allow women jurors at matinee performances twice a week.[66] Unlike a normal criminal trial, verdicts required only a majority vote rather than unanimity.[63]
Themes
Rand described Night of January 16th as "a sense-of-life play".[67] She did not want its events to be taken literally, but to be understood as a representation of different ways of approaching life. Andre represents an ambitious, confident, non-conformist approach to life, while the prosecution witnesses represent conformity, envy of success, and the desire for power over others.[67][68] Rand believed the jury's decision at each performance revealed the attitude of the jurors towards these two conflicting senses of life. Rand supported individualism and considered Andre "not guilty".[69] She said she wanted the play to convey the viewpoint: "Your life, your achievement, your happiness, your person are of paramount importance. Live up to your highest vision of yourself no matter what the circumstances you might encounter. An exalted view of self-esteem is man's most admirable quality".[70] She said the play "is not a philosophical treatise on morality" and represents this view only in a basic way.[70] Rand would later expound an explicit philosophy, which she called "Objectivism", particularly in her 1957 novel Atlas Shrugged and in non-fiction essays, but Night of January 16th predates these more philosophical works.[71]
Several later commentators have interpreted the play as a reflection of Rand's early interest in the ideas of German philosopher
Reception
Since its premiere, Night of January 16th has had a mixed reception. The initial Los Angeles run as Woman on Trial received complimentary reviews; Rand was disappointed that reviews focused on the play's melodrama and its similarity to The Trial of Mary Dugan, while paying little attention to aspects she considered more important, such as the contrasting ideas of individualism and conformity.[15][73] Although Rand later described the production as "badly handicapped by lack of funds" and "competent, but somewhat unexciting", it performed reasonably well at the box office during its short run.[74][75]
The Broadway production received largely positive reviews that praised its melodrama and the acting of Nolan and Pidgeon.
Professional productions in other North American cities typically received positive reviews. Austin B. Fenger described the production at San Francisco's
The London production in 1936 received mostly positive reviews but was not a commercial success. A reviewer for
The 1973 revival as Penthouse Legend was a failure and received strongly negative reviews.[83][84] A reviewer for The Village Voice complimented the story's melodramatic plot twists but said it was "preposterously badly written" and described the production as "conventional and obvious".[85] In The New York Times, Clive Barnes called the play tedious and said the acting was "not particularly good".[86] It closed within a few weeks.[36]
Academics and biographers reviewing the play have also expressed mixed opinions. Theater scholar Gerald Bordman declared it "an unexceptional courtroom drama" made popular by the jury element, although he noted praise for the acting of Breese and Pidgeon.[14] Historian James Baker described Rand's presentation of courtroom behavior as unrealistic, but said audiences forgive this because the play's dramatic moments are "so much fun".[87] He said the play was "great entertainment" that is "held together by an enormously attractive woman and a gimmick", but "it is not philosophy" and fails to convey the themes Rand had in mind.[88] Jennifer Burns expressed a similar view, stating that the play's attempts to portray individualism had "dubious results ... Rand intended Bjorn Faulkner to embody heroic individualism, but in the play he comes off as little more than an unscrupulous businessman with a taste for rough sex".[9] Literature scholar Mimi Reisel Gladstein described the play as "significant for dramatic ingenuity and thematic content".[89] Rand biographer Anne Heller considered it "engaging, if stilted",[12] while Ronald Merrill described it as "a skillfully constructed drama" undercut by "Rand's peculiar inability to write an effective mystery plot without leaving holes".[44] Mystery critic Marvin Lachman noted the novelty of the use of a jury but called the play unrealistic with "stilted dialogue" and "stereotypical characters".[90]
Adaptations
Movies
The movie rights to Night of January 16th were initially purchased by Metro-Goldwyn-Mayer (MGM) in October 1934 as a possible vehicle for Loretta Young. They hired Rand to write a screenplay, but the project was scrapped.[16] After MGM's option expired, Woods considered making a movie version through a production company of his own,[91] but in 1938 RKO Pictures bought the rights for $10,000, a fee split between Woods and Rand. RKO considered Claudette Colbert and Lucille Ball as possible stars, but they also gave up on the adaptation. The rights were resold to Paramount Pictures in July 1939 for $35,000.[92][93][94] Paramount released a movie in 1941; Rand did not participate in the production. The film was directed by William Clemens, and Delmer Daves, Robert Pirosh, and Eve Greene were engaged to prepare a new screenplay.[16][95]
The new screenplay altered the plot significantly, focusing on Steve Van Ruyle (Robert Preston), a sailor who inherits a position on the board of a company headed by Bjorn Faulkner (Nils Asther). Unlike the play, in which Faulkner is already dead, he appears in the film as a living character who is apparently murdered. Suspicion falls on Faulkner's secretary Kit Lane (Ellen Drew); Van Ruyle decides to investigate the alleged crime. Faulkner is discovered hiding in Cuba after faking his own death.[94][95][96] Rand said only a single line from her original dialog appeared in the movie, which she dismissed as a "cheap, trashy vulgarity".[97] The film received little attention when it was released, and most reviews of it were negative.[98]
In 1989,
Television and radio
Night of January 16th was adapted for several television
See also
- The Match King, a movie also inspired by Ivar Kreuger
Notes
- ^ Plot details are primarily based on the version published in 1968, which varies at some points from the scripts used for the Broadway and amateur theater productions.[42]
- Franklin Roosevelt.[63][64] The jurors for the London opening included musician Jack Hylton and actors Adrianne Allen, Raymond Massey, and Vera Pearce.[28][65] Opening night jurors in Sydney included cartoonist Jimmy Bancks, tennis champion Jack Crawford, writer Ethel Knight Kelly, and attorneys Bill Dovey, Vernon Treatt, and Richard Windeyer.[30]
References
- ^ Branden 1986, pp. 109–110
- ^ a b Gladstein 1999, p. 10
- ^ Britting 2004, pp. 29–30
- ^ Britting 2004, p. 36; Branden 1986, p. 93
- ^ Heller 2009, p. 74; Branden 1986, p. 106
- ^ Heller 2009, p. 74
- ^ Rand 1971, p. 7; Branden 1986, p. 115
- ^ Branden 1986, pp. 107–108
- ^ a b c d Burns 2009, pp. 28–30
- ^ Branden 1986, p. 116
- ^ a b Staging Verdict 1934, p. 3
- ^ a b c d e Heller 2009, pp. 75–76
- ^ a b Gordon 1969, p. D3
- ^ a b c d Bordman 1996, p. 120
- ^ a b c Branden 1986, pp. 117–118
- ^ a b c Heller 2009, pp. 77–78
- ^ a b c d Rand 1971, pp. 8–9
- ^ Heller 2009, p. 82
- ^ a b c d Heller 2009, p. 90
- ^ a b c d e f g h i Branden 1986, pp. 120–124
- ^ Second Arbitration 1936, p. 15
- ^ Author Wins 1936, p. 19
- ^ Heller 2009, pp. 92, 95; Gladstein 2009, p. 12
- ^ Mantle 1936, p. 23
- ^ Night Review 1936, p. 3
- ^ News: Closing 1936, p. 17
- ^ a b Collins 1936, p. 15
- ^ a b c d Kabatchnik 2009, p. 435
- ^ a b c d Archer 1941, p. 3
- ^ a b c Sydney Jurors 1944, p. 5
- ^ Perinn 1990, p. 6
- ^ Rand 1971, pp. 13–14
- ^ Rand 1971, pp. 15–16
- ^ Peikoff 2005, p. 17
- ^ a b c Branden 1986, pp. 369–370
- ^ a b c Lortel Archives
- ^ a b c d Baker 1987, pp. 34–35
- ^ Heller 2009, p. 101
- ^ Heller 2009, p. 129
- ^ Branden 1986, pp. 180–181
- ^ Kaufman 2003, p. 215
- ^ Rand 1971, pp. 8–16
- ^ Reeid 1964, pp. 82–87
- ^ a b c Merrill 1991, pp. 31–32
- ^ Reeid 1964, pp. 98–99
- ^ a b Rand 1971, p. 7; Branden 1986, p. 121
- ^ a b News: Cochran 1935, p. 16
- ^ News: Illustrators 1936, p. 15
- ^ Gladstein 1999, pp. 48–49
- ^ Kabatchnik 2009, p. 433
- ^ Slide 1999, pp. 85, 89
- ^ a b c d Slide 1999, pp. 90–91
- ^ a b Stage News 1936, p. 18
- ^ Bordman 1996, pp. 120, 124; News: Entrants 1935, p. 21
- ^ a b Rand 1995, pp. 22–23; Rainey 2005, p. 46
- ^ a b c Atkinson 1935, p. 26
- ^ a b c d Woman Review 1934, p. 3
- ^ Wearing 2014, p. 549
- ^ Plays Out 1934, p. 54
- ^ Wearing 2014, p. 550
- ^ Reeid 1964, p. 2
- ^ a b Gladstein 2009, p. 87
- ^ a b Tampering 1935, p. 4C
- ^ Hand-Picked 1935, p. 2C; News: Hit-Bits 1935, p. 11
- ^ a b c Murder Play 1936, p. 29
- ^ News: Equity 1935, p. 18
- ^ a b c Rand 1971, pp. 1–2
- ^ Baker 1987, p. 39
- ^ Rand 1971, pp. 5–6
- ^ a b Rand 1971, pp. 2–3
- ^ Salmieri 2016, pp. 11–12
- ^ Milgram 2006, pp. 27–30
- ^ Heller 2009, p. 219
- ^ Rand 1971, pp. 6–8
- ^ Branden 1986, pp. 111, 117–118
- ^ Pollock 1935, p. 9
- ^ Brown 1935, p. 19
- ^ Isaacs 1935, p. 823
- ^ New Plays 1935, p. 22
- ^ Fenger 1936, p. 2
- ^ London Theatres 1936, p. 19
- ^ Fleming 1936, p. 582
- ^ Branden 1986, p. 372
- ^ Kabatchnik 2009, p. 436
- ^ Novick 1973, p. 57
- ^ Barnes 1973, p. 20
- ^ Baker 1987, p. 36
- ^ Baker 1987, p. 40
- ^ Gladstein 1999, p. 37
- ^ Lachman 2014, p. 96
- ^ Los Angeles Times 1936, p. 13
- ^ TCM.com Notes
- ^ Heller 2009, pp. 105, 469
- ^ a b Wilt 1991, p. 113
- ^ a b Weiler 1941, p. 35
- ^ TCM.com Overview
- ^ Rand 1971, p. 14
- ^ Johnson 2005, pp. 55–56
- ^ Eyecatchers 1988
- ^ Vijayakar 2010
- ^ Terrace 2013, p. 70
- ^ Billips & Pierce 1995, p. 599
- ^ Paulu 1961, p. 114
- ^ Election Jitters 1959, p. 23
- ^ Foreign Reviews 1960, p. 40
- ^ Shuttleworth 1962, p. 260
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- "New Plays in Manhattan". Time. Vol. 26, no. 14. September 30, 1935. p. 22.
- "News of the Stage: Equity Talks It Over, Reasonably, Quietly—Other Matters of the Theatre". The New York Times. Vol. 85, no. 28, 378. October 5, 1935. p. 18.
- "News of the Stage: Hit-Bits". Newspapers.com.
- "News of the Stage: Mr. Cochran Speaks—Tonight's Premier—Ambassador Theatre for Sale—Nowhere Bound Closing". The New York Times. Vol. 84, no. 28, 130. January 30, 1935. p. 16.
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- "News of the Stage: The Illustrators' Show Now Due on Jan. 22, which Gives Broadway Three Shows Next Week". The New York Times. Vol. 85, no. 28, 482. January 17, 1936. p. 15.
- "Night of January 16th (1941): Notes". TCM Movie Database. Archived from the original on August 31, 2014. Retrieved May 23, 2014.
- "Night of January 16th (1941): Overview". TCM Movie Database. Archived from the original on August 31, 2014. Retrieved May 21, 2012.
- "Penthouse Legend". Lortel Archives. Archivedfrom the original on September 21, 2016. Retrieved April 22, 2014.
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- "Play Review: Woman on Trial". Daily Variety. Vol. 5, no. 41. October 23, 1934. p. 3.
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External links
- Night of January 16 at the Internet Broadway Database
- Night of January 16th at Theatricalia.com
- Penthouse Legend at the Internet Off-Broadway Database