1977-2006: Not-for-profit Theater

So, while still continuing productions at the museum with an interim director and working to secure State backing, Players undertook even more intensive fundraising. It established a significant Founders group (at $1000 per couple) and landed substantial donations from business interests—the largest of which came from the Knight Foundation.

They formed a large new board consisting of those generous founders who also had experience that would be useful to the theater. They gained the support of the State, with several requirements: they had to submit to the state their budget as well as their intended plays, they had to establish a strong educational program, and they had to hire a new director who the State would approve.

Players conducted a nation-wide search for a director—seeking a person with substantial experience in both the theater and, crucially, in the business of operating a theater. They hired David Robert Kanter, who had most recently run a successful regional theater in Michigan, to serve as both artistic and managing director and he started work in August 1977.

David Robert Kanter headed productions at the Playhouse for five years, but in September of 1982 he resigned. The Miami News called his departure “abrupt,” saying that some board members disagreed with Kanter’s vision of the Playhouse as a venue for new and experimental plays. The Miami Herald’s coverage, however, described it as “amicable,” one that was mutually decided with the Players’ board.

During Kanter’s time at The State Theater at Coconut Grove Playhouse revenues increased substantially, with ticket sales and subscriptions both increasing three-fold. Nonetheless, well before Kanter announced his departure there was a sense that change was needed: Four months before, in May of 1982, an article by the Miami Herald theater critic Christine Arnold was headlined: “After five seasons, Players has the need for new direction, identity.”

Ferrer believed that big names were important to attract audiences, and he drew several (including Kim Hunter, Danny Aiello, Elaine Stritch) to the CGP stage during his two years there. He also believed that presenting American classics—like Moss Hart’s “Light Up the Sky”—was important in attracting and sustaining audiences.

Further, he thought he could attract new theater-goers by presenting Spanish language productions. He was credited as being the first to bring these to a large Miami theater. In November 1984 he presented two versions of “The Glass Menagerie,” one in Spanish and one in English.

While under Ferrer’s guidance the Playhouse presented impressive work, including: “A Coupla’ White Chicks Sitting Around Talking,” “A Destiny with Half Moon Street,” Vinnette Carroll’s “When Hell Freezes Over I’ll Skate,” “A Soldier’s Play,” and “When You Comin’ Back Red Ryder.”

Later, the Herald described the situation even more succinctly, writing that Ferrer “quit his dollar-a-year job, having found that it came with at least $1 million worth of stress.”

Several months earlier, Ferrer had suggested a promising management candidate to the Board, a young and heralded theater director and producer from New York and New Jersey with strong business skills and experience. Arnold Mittelman had been a founding director of the acclaimed New York Free Theater and Whole Theater Company. He also had produced and directed on Broadway Though it conducted a national search, the Board decided to hire his recommendation.

Arnold Mittelman on Jose Ferrer

The Board also hired Mittelman’s wife, Judith Delgado, actress and colleague at New York Free Theater and Whole Theater Company, to head up the theater’s Education Department. This is an important aspect of a “State Theater.” Ferrer stayed on in the winter of 1985, working through the transition to the new producing artistic director, Arnold Mittelman.

Mittelman certainly did not “come and go.” Listen to Mittelman describing the elements that contributed to his longevity.

Arnold Mittelman on the Secret Sauce

Unlike his predecessors, he had artistic capabilities and major not-for-profit theater management and fund-raising talents. He hit the ground running and, for over two decades, was responsible for more than 200 plays, musicals, educational, and special events performed on two stages (1100 and 200 seats). The 200-seat Encore Room Theater was added by Mittelman and conceived of as an Off-Broadway stage to complement the 1100-seat main auditorium. On both stages, ethnically diverse plays and musicals, world premieres, many of which he directed himself–were seen by over three million attendees, including countless disadvantaged citizens, seniors, and students.

Mittelman recognized what some of his predecessors, most notably Jose Ferrer, had worked to do in providing programming that reflected and attracted Miami’s diverse community. Seeing that they had occasionally presented works in both Spanish and English, he continued to do this. Further, he worked with talented Latino playwrights including noted Cuban-American writers like Luis Santeiro and Nilo Cruz, often staging their plays for the first time. Each year (with rare exception) saw at least one production that addressed Latino interests. These included about 30 offerings, including “Rum and Coke” (early in Mittelman’s tenure in 1985), “Mixed Blessings” (1989), “Falling Fidel” (1994), “Goodbye, My Friduchita” (1996), to “Sonia Flew” (2006).

Forty Playhouse productions in these years (world premieres, plays featuring some of the industry’s greatest theatrical talents, and plays supported by innovative partnerships between the not-for-profit and for-profit sectors) transferred directly to Broadway, Off-Broadway, London’s West End, toured, or went on to other national and international venues. They are:

• 1985 Corpse
• 1986 Rum & Coke
• 1986 On the Twentieth Century
• 1987 Alone Together
• 1987 Let ‘Em Rot
• 1988 Fame
• 1988 Blood Wedding
• 1988 Run for Your Wife
• 1988 Mixed Blessings
• 1989 Lady Day at Emerson’s Bar and Grill
• 1989 Matador
• 1990 Embraceable You
• 1990 Once Upon a Song
• 1991 The Big Love
• 1992 Tango Pasion
• 1992 Family Secrets
• 1994 Papa
• 1995 Bermuda Avenue Triangle
• 1995 Radio Gals
• 1995 Death of a Salesman
• 1996 Visiting Mr. Green
• 1996 Don’t Stop the Carnival
• 1997  Little by Little
• 1997 The Sunshine Boys
• 1998 An Evening with Jerry Herman
• 1998 Goodbye, My Friduchita
• 1999 Tallulah
• 1999 Rough Crossing
• 1999 The Gathering
• 2001 Say Goodnight, Gracie
• 2002 I’m Not Rappaport
• 2002 Urban Cowboy
• 2002 Blue
• 2003 Romeo and Bernadette
• 2003 Six Dance Lessons in Six Weeks
• 2003 Confessions of a Mormon Boy
• 2005 Tuesdays with Morrie
• 2006 Southern Comforts
• 2006 The Constant Wife
• 2006 Sonia Flew

This body of work included three Pulitzer Prize-winning playwrights directing their work for the first time in a major theatrical production: Edward Albee (“Seascape”); David Auburn (“Proof”) and Nilo Cruz (“Anna in the Tropics”). Musical legends Cy Coleman, Charles Strouse, Jerry Herman, Jimmy Buffett, John Kander, and Robert Waldman were in residence at the Playhouse to develop world-premiere productions. Further, the Coconut Grove Playhouse was honored by the residence of librettist/writers Herman Wouk, Alfred Uhry, John Weidman, Terrence McNally, Fred Ebb, Luis Santeiro, and Mario Vargas Llosa.

The Playhouse recognized some of these major artists with Lifetime Achievement Awards, a program that Mittelman established in 1985 to recognize an individual’s achievement in theater generally and their involvement with the Coconut Grove Playhouse in particular. Those honored with this award were:

Mittelman also established awards to recognize those who had made other types of contributions to the playhouse:

• The Spotlight Award to recognize citizens for their outstanding contribution to the cultural fabric of Miami-Dade County; 
• The Making a Difference Award granted in conjunction with the Education Department, recognizing citizens contributing to the positive development of Miami-Dade County youth, specifically by taking action on the social problem portrayed in that year’s touring play; and 
• The Community Award, honoring those who,  in any number of ways,  were supportive of the Playhouse. 

Mittelman attributed the success of the productions to an outstanding in-house production staff (many of whom he inherited from Ferrer) in shops on and off site. In earlier eras, the Playhouse booked touring productions, but since the late 1970s almost all shows required building sets, locating props, designing and creating costumes, and planning sound and lights. The existence and quality of resident production personnel along with great stage managers is one of the main reasons the Playhouse was able to produce such a wide variety of work. Producers, directors and designers from commercial entities and other regional theaters wanted to work at CGP because they knew that even when budgets were tight, its staff would do everything needed to provide the best possible support for their plays . Listen to Mittelman’s reflections on the wonderful people he worked with during his 21 years at the Playhouse.

Arnold Mittelman on the Coconut Grove staff

One way in which Mittelman fostered staff and actor cohesion was by beginning the first rehearsal of every performance with a ritual: everyone involved in the work of that play – actors, support staff, production staff – gathered in a circle and introduced themselves, saying what role they had in making the production and the Playhouse successful. In this way, Mittelman reinforced his conviction that every person’s contribution was valued and that they all were part of a team. No understudies were ever hired or used in a production. When it was possible for Mittelman, given his other responsibilities, he directed plays— 17 during his career at the Playhouse. Listen to him reflect on how he enjoyed that opportunity.

Arnold Mittelman on Plays I Directed

By March 1999, Florida’s Secretary of State was planning to ask the Legislature for $2.5 million to pay for the extensive repairs and renovations needed. Meanwhile, the performers again supported the Playhouse. Cuban music stars Willy Chirino and Lisette Alvarez gave a benefit concert: “Rhythm to the Rescue.” These and other actors felt they were part of the Playhouse “family” and wanted the Playhouse to survive, so they offered their financial support.

The major capital campaign for the building restoration and future renovations was endorsed and supported by Edward Albee, Jean Stapleton, Charles Strouse, Eli Wallach and Anne Jackson, Bea Arthur, Mario Vargas Llosa, Theodore Bikel, and Tony Randall. Jack Klugman encouraged others to donate, and wrote:

In 2001 the Playhouse suffered a substantial financial blow: the State pulled its $500,000 annual support. This increased the urgency for further fundraising—not for capital funds, but for operating funds.

The Playhouse was honored by The Carbonell Awards, South Florida’s group that recognizes achievement in theatre and the arts. It received the President’s Award “in recognition of its continuing role in a half century of building regional and national recognition for theater, the arts and artists in South Florida.”

In 2004, the Playhouse embarked on yet another ambitious capital campaign–this time to finance the rebuilding of the theater and its property so it could better sustain itself in the future. The plans were to correct structural and infrastructure deficiencies, to restore the recently landmarked iconic theater facade, and to make more efficient use of the site by including multi-story parking and a scene shop.

Neither of these plans – the rebuilding of the theater and its property, or moving shows to the Parker Playhouse – were able to be implemented.

On March 25, 2006, the Playhouse held its 50th anniversary gala. Listen to reflections on opening nights, galas and special events. 

On April 10, 2006, Mittelman received the prestigious George Abbott Award for Outstanding Achievement in the Arts. Listen to his memories of “Mr.” Abbott.

Arnold Mittelman on the Mr. Abbott Award

On April 12, a sign posted on the door of the Playhouse read “Building is closed until further notice.” Board leaders stated they were concerned about the Playhouse’s finances. Nonetheless, Mittelman (who during his tenure was never on the board) was able to present his season’s final production, “Sonia Flew” by Melinda Lopez, starring Lucie Arnaz and directed by David Ellenstein.

As of 2025 the Playhouse remains closed. The not for profit board was dissolved. The State of Florida, Miami Dade County Government and Florida International University have assumed control of the building and its surrounding vacant land. For almost two decades, despite some community protests and legal disputes to the contrary, various officials and architects proposed development for the Playhouse site that would demolish the 1100-seat main auditorium and 200-seat Encore Room and replace them with one new 300-seat theater. This plan is currently seen as the best way to secure the future of the renowned Coconut Grove Playhouse.

In February 2007 Mittelman was named President and Producing Artistic Director of the National Jewish Theater Foundation. In 2012 he also became Founding Director of the National Jewish Theater Foundation – Holocaust Theater International Initiative at University of Miami.

In 2019 he received the Arts Champion Award from the John S. and James L. Knight Foundation, recognizing his lifetime arts achievements, including the leadership of the Coconut Grove Playhouse and the National Jewish Theater Foundation.

In 2020 Mittelman had the opportunity to reflect on his career with David Ellenstein, the well-known actor and theater artistic director. You can read this interview here. 2020_EllensteinConversationsMittelman