Harold Prince
Harold Prince – Life, Career, and Legacy
Learn about Harold “Hal” Prince (January 30, 1928 – July 31, 2019), the legendary American theatre producer and director who shaped Broadway through West Side Story, Cabaret, Phantom of the Opera, and collaborations with Sondheim, Kander & Ebb, and more.
Introduction
Harold Smith Prince—known affectionately in theater circles as Hal Prince—was one of the most influential figures in American musical theater. Over a career spanning more than six decades, he produced and directed dozens of iconic Broadway shows, often pushing the boundaries of form, content, and spectacle. With 21 Tony Awards to his credit (a record), Prince became synonymous with innovation, collaboration, and ambition in musical theatre. His touch can be seen in both blockbuster spectacles and intimate, concept-driven works.
Early Life and Background
Harold Prince was born January 30, 1928, in New York City. Prince from his stepfather, Milton A. Prince, a stockbroker.
He grew up in a Jewish family (of German Jewish descent) in Manhattan. Franklin School (later Dwight School) in New York and then entered the University of Pennsylvania, where he completed his liberal arts studies in three years, graduating around age 19.
After college, Prince served two years in the U.S. Army, stationed in post–World War II Germany.
Entry into Theatre & Early Career
Prince’s theatrical career began under the mentorship of veteran Broadway producer and director George Abbott.
One of his early major successes was The Pajama Game (1954), co-produced with Robert E. Griffith, with Abbott directing. That show was a surprise hit and won the Tony Award for Best Musical. Damn Yankees (1955), Fiorello! (1959), West Side Story (1957) and A Funny Thing Happened on the Way to the Forum (1962)—many of them either hits or enduring classics.
By the early 1960s, Prince began directing himself. His first directorial Broadway credit was A Family Affair (1962). His directing style would eventually become as celebrated as his producing work.
Major Productions & Collaborations
Prince’s resume is studded with landmark musicals—both as producer and director. Below are some of his most notable works and collaborations:
| Work / Musical | Role(s) | Notes / Significance | |||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Cabaret (1966) | Producer & Director | One of Prince’s most acclaimed works; embraced darker, political content. | Company (1970) | Producer & Director | A key early “concept musical,” working with Stephen Sondheim. | Follies (1971) | Producer & Director | Another high-profile Sondheim collaboration. | A Little Night Music (1973) | Director / Producer | Won Tonys; further solidified his style. | Sweeney Todd (1979) | Director | A darker, ambitious musical. | Evita (1980) | Director | One of his major collaborations with Andrew Lloyd Webber. | The Phantom of the Opera (1988) | Director | Becomes Broadway’s longest-running show (still playing in many venues). | Kiss of the Spider Woman (1993) | Director | Later career revival and innovation. | Show Boat (1994 revival) | Director | Recognized for rethinking classic works. | Prince of Broadway (2015/2017) | Director / Curator | A retrospective revue celebrating his productions.
Prince’s frequent collaborators included Stephen Sondheim, John Kander & Fred Ebb, Bob Fosse, Jerome Robbins, designers like Boris Aronson and Florence Klotz, and many others. He was known not only for big musicals but also for risk-taking—bringing serious themes (politics, existential questions, relationships) into a form that historically had been more escapist. “concept musical”—where the central message, motif, or thematic structure can outweigh a straightforward narrative. Style, Philosophy & InnovationsConcept over PlotPrince often favored musicals built around a theme or concept, rather than a purely linear story. Company, Follies, and Pacific Overtures (a show about the opening of Japan) reflect this tendency. Integration of Space, Design & TechnologyPrince paid deep attention to how staging, lighting, and design could support narrative and mood. In Phantom of the Opera, for instance, the falling chandelier and immersive set designs contributed to the mythic grandeur of the show. Collaboration and Trust in ArtistsHe believed in working with the best composers, lyricists, and designers, empowering them to push artistic boundaries. He gave space to creators like Sondheim, Lloyd Webber, and many others. Embracing Failure and ExperimentationPrince was known to accept flops as part of the creative process. In his acceptance speech for his Lifetime Achievement Tony Award, he noted that “my successes which have flopped at the box office … some things will only teach you things that see the future.” Honors, Awards & Recognition
Later Life & DeathIn his later years, Prince continued directing, consulting, and curating. The Prince of Broadway revue (2015 in Japan, Broadway in 2017) was a career retrospective he helped shepherd. Harold Prince passed away on July 31, 2019, in Reykjavík, Iceland, at the age of 91. Legacy & InfluenceHal Prince’s legacy reverberates in multiple dimensions:
Memorable StatementsWhile Prince was not as publicly quotable as some writers, a few reflections stand out:
Lessons from Harold Prince
ConclusionHarold Prince was, in many ways, the theatrical visionary of his generation. He cast long shadows over Broadway’s evolution, helping to transform musicals into serious, emotionally probing, and visually daring works of art. His life is a testament to the power of ambition, the generosity of mentorship, and the enduring possibility of change in even the most established art forms. Selected obituary / remembrance articles |