The Group Theatre was a New York City theater collective formed by Harold Clurman, Cheryl Crawford and Lee Strasberg in 1931. It was intended as a base for the kind of theater they and their colleagues believed in — a forceful, naturalistic and highly disciplined artistry. They were pioneers of what would become an "American acting technique" derived from the teachings of Constantin Stanislavski, but pushed beyond them as well. The company included actors, directors, playwrights, and producers. The name "Group" came from the idea of the actors as a pure ensemble; there were to be no "stars."
The New York-based Group Theatre had no connection with the identically-named London-based Group Theatre founded in 1932.
In the ten years of its existence, the Group Theatre produced works by many important American playwrights, most notably Clifford Odets and Irwin Shaw. Its most successful production was the 1937-38 Broadway hit Golden Boy, starring Luther Adler and Frances Farmer.
The Group included Elia Kazan, Harry Morgan (billed as Harry Bratsburg} , Stella Adler, Robert Lewis, John Garfield (billed as Jules Garfield), Franchot Tone, Phoebe Brand, Ruth Nelson, Will Geer, Howard Da Silva, John Randolph, Joseph Bromberg, Michael Gordon, Paul Green, Clifford Odets, Paul Strand, Morris Carnovsky, Sanford Meisner, Marc Blitzstein, Anna Sokolow and Lee J. Cobb, among many others.
The Group took on novelist Dawn Powell's dark comedy Big Night, rehearsed it for close to six months and asked for extensive revisions from the playwright. The result was a critical and box-office disaster that ran a scant nine performances. Harold Clurman, who took over the production late in the rehearsal period, later admitted the Group's role in the fiasco. "The play should have been done in four swift weeks—or not at all. We worried it and harried our actors with it for months."
On the night of January 5, 1935, the Group gave a benefit performance of the one-act play Waiting for Lefty by Clifford Odets at the Civic Repertory Theatre in New York City. The play reflected a kind of street poetry that brought great acclaim to the Group, and to Odets as the new voice of social drama in the thirties. Odets became the playwright most strongly identified with the Group, and its productions of Awake and Sing and Paradise Lost, both directed in 1935 by Harold Clurman, proved to be excellent vehicles for the Group's Stanislavskian aesthetic. The following year they produced the Paul Green-Kurt Weill anti-war musical Johnny Johnson, directed by Strasberg.
After the war, in 1947, Robert Lewis, Elia Kazan, and Cheryl Crawford founded the Actors Studio, where the techniques inspired by Stanislavski and developed in the Group Theatre were refined. Under the leadership of Lee Strasberg, who later joined the Actors Studio and became its director in 1951, what is now referred to as The Method emerged as a lasting force in modern drama.
Institutionally, the Group influenced the Chelsea Theater Center, a later theater in New York (1960's and 1970's), born of idealism and destroyed by lack of funding and friction between its co-directors. Hal Prince invokes the Group in his foreword to the book, Chelsea on the Edge: The Adventures of an American Theater.
In the 1950s, many of the former members were called before the House Un-American Activities Committee (HUAC). Those who appeared as "friendly" witnesses, such as Elia Kazan, Clifford Odets, and Lee J. Cobb, avoided the fate of their colleagues who refused to name Communist Party members and, as a result, were blacklisted.
The Group Theatre is described in Robert Lewis' Slings And Arrows, Theater in My Life, Harold Clurman's The Fervent Years, and Wendy Smith's authoritative history Real Life Drama.