Hubbry Logo
Helen HanftHelen HanftMain
Open search
Helen Hanft
Community hub
Helen Hanft
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Helen Hanft
Helen Hanft
Helen Hanft
View on Wikipedia
from Wikipedia

Helen Hanft (April 4, 1934 – May 30, 2013) was an American actress.

Key Information

Early life

[edit]

Hanft was born in the Bronx, the eldest of three daughters born to Esther and Benjamin Hanft. Her father was a prominent public relations executive for several national Jewish organizations. Her father persuaded her to audition for the High School of Performing Arts, now part of Fiorello H. LaGuardia High School of Music & Art and Performing Arts, and she was admitted.[1]

Career

[edit]

Hanft started her theatrical career in the early 1960s in the experimental theater movement at Off-Off-Broadway venues like La MaMa Experimental Theatre Club and Caffe Cino. She quickly became known as "the Ethel Merman of off-off-Broadway" for her comedic performances.[1] Hanft often played eccentric, raunchy characters, and was featured in many plays by Tom Eyen, including:

  • My Next Husband Will Be a Beauty! (1964[2])
  • Frustrata (1964,[3] 1965[4])
  • The Demented World of Tom Eyen (1965[5])
  • Why Hanna's Skirt Won't Stay Down (1965,[6] 1971,[7] 1981[8])
  • The White Whore and the Bit Player (1965;[9] she also appeared in the Cannon Films adaptation)
  • Sarah B. Divine! (1967[10])
  • Who Killed My Bald Sister Sophie? (1969[11])
  • What is Making Gilda So Gray? (1970[12])
  • Women Behind Bars (1975)
  • The Neon Woman (1978; co-starring Divine)[1]
  • Give My Regards to Off Off Broadway (1987[13])
  • Areatha in the Ice Palace

She performed in David Rabe's In the Boom Boom Room at Joseph Papp's Public Theater, John Patrick Shanley's Italian American Reconciliation, and multiple plays by Stephen Holt, including Reety in Hell.[14] Hanft also appeared in the following productions at La MaMa during the 1960s and 1970s:

  • Merrill Williams' At the Corner of Popcorn Alley and the 21st of September Street (1965[15])
  • H.M. Koutoukas' Omy Queen of the Fairies and Tidy Passions, or, Kill Kaleidascope Kill (1965[16])
  • Paul Foster's The Madonna in the Orchard (1966[17]) directed by Tom O'Horgan
  • Howard Greenberger and Robert Reinhold's Our Play on the Future Has No Name (1970[18])
  • Stephen Holt's The Kitty Glitter Story (1974[19])
  • Jeff Klayman's Density 1.33 (1976[20])
  • Holt's O My Rosey Dreams (1983[21])

Additionally, she appeared in Stoop; Bambi Levine, Please Shut Up!; and as Judy Garland dying in her bathroom in London Loo. She appeared as herself in two documentary features: Beautiful Darling, about Candy Darling; and I Am Divine, about Divine.

In the mid-1970s, Hanft began appearing in movies, sometimes in cameo roles. Her film credits include the Woody Allen films Manhattan, Stardust Memories, The Purple Rose of Cairo, and Allen's segment in New York Stories. She was also a favorite of Paul Mazursky, who cast her in Next Stop, Greenwich Village and Willie & Phil. Other film appearances include Arthur, Honky Tonk Freeway, Moonstruck, License to Drive, Coming to America (where she uttered the now famous line “Go on Honey, take a chance”), and Used People. In the late 1990s, she began appearing on episodes of Law & Order, and continued to make occasional stage appearances in New York City.

Personal life

[edit]

Her husband, William Landers, predeceased her, as did her younger sister, Alice. She is survived by her other sister, Sarah Comma.

She died in Manhattan on May 30, 2013, of a post-surgical intestinal blockage.

Filmography

[edit]

Film

[edit]
Helen Hanft film credits
Year Title Role Notes
1976 Next Stop, Greenwich Village Herb's Wife
1979 Manhattan Party Guest #3
1980 Willie & Phil Used Cars Salesperson
1980 Stardust Memories Vivian Orkin
1981 Arthur Perry's Wife
1981 Honky Tonk Freeway Bag Lady
1985 The Purple Rose of Cairo Movie Audience
1986 9½ Weeks Flea Market Shawl Seller
1986 Off Beat Waitress
1987 Moonstruck Lotte
1988 Coming to America Subway Lady
1988 License to Drive Miss Hellberg
1989 New York Stories Citizen (segment "Oedipus Wrecks")
1989 Identity Crisis Hag
1989 Fear, Anxiety & Depression Roz
1990 Betsy's Wedding Fitter
1991 The Butcher's Wife Molly
1992 Used People Aunt Ruthie
1994 North Operator
1994 I.Q. Rose
1996 The Associate Mrs. Cupchick
1997 Mr. Jealousy Millie
1999 Trick Greasy Spoon Waitress
1999 Fever Louisa
2002 Dummy Mrs. Gurkel
2006 Puccini for Beginners Old Lady At Cinema
2007 Noise Forceful Juror
2009 When the Evening Comes Rose Bushman (final film role)

Television

[edit]
Helen Hanft television credits
Year Title Role Notes
1985 The Equalizer Mrs. Washburn Episode: "Back Home"
1989 Kojack: Ariana Woman TV movie
1997 Law & Order Martha Episode: "Denial"
2000 Law & Order: Special Victims Unit Mrs. Billins Episode: "Noncompliance"
2001 Law & Order Vera Episode: "Who Let the Dogs Out?"
2002 Law & Order: Criminal Intent Ruth Cohen Episode: "Yesterday"

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Helen Hanft

View on Grokipedia
from Grokipedia
Helen Hanft (April 3, 1934 – May 30, 2013) was an American actress celebrated for her brassy, camp-infused performances as a pioneer of the theater scene in the and , where she appeared in over 75 experimental productions, as well as for her memorable supporting roles in several films. Born in the Bronx, New York, to Benjamin and Esther Hanft, she was the eldest of three daughters in a family with ties to and ; her father served on the board of for the Workmen's Circle, a Jewish labor organization. Hanft attended New York City's , where she honed her dramatic skills before launching a career in the theater world. She married actor William Landers, though the union ended in divorce, and she was survived by a sister, a niece, and two nephews. Hanft's breakthrough came in the underground venues of , including Caffe Cino, , and Joseph Papp's , where she embodied the era's risqué, surreal, and humorous style, earning her the nickname "the Ethel Merman of the underground" from New York Times critic Mel Gussow. She frequently collaborated with playwright , starring in the title role of Why Hanna’s Skirt Won’t Stay Down (1974) at the Village Gate, which ran for four months, and as part of the all-female ensemble in his prison-camp comedy Women Behind Bars (1975), earning a Drama Desk Award nomination for Outstanding Actress in a Play. Other key stage roles included the stripper character in David Rabe's In the Boom Boom Room (1974) at the and Eyen's The Neon Woman (1978), which helped shape the camp personas of performers like . Later theater work encompassed John Patrick Shanley's Italian American Reconciliation (1988) at and Gus and Al (1989) at . Transitioning to screen work in the 1970s, Hanft appeared in Paul Mazursky's (1976) and became a favorite of , featuring as a comic foil in (1979), (1980), (1985), and the "Oedipus Wrecks" segment of (1989). Her film credits also included Perry's wife in (1981), Lotte, the liquor store owner, in (1987), the strict driving instructor Miss Hellberg in (1988), and a role in (1986). On television, she guest-starred in multiple episodes of throughout the 1990s and 2000s. Hanft died in Manhattan from complications of an intestinal blockage, leaving a legacy as a trailblazer who brought bold, unapologetic energy to New York's experimental arts.

Early life

Birth and family

Helen Hanft was born on April 3, 1934, in , . She was the eldest of three daughters born to Esther Hanft and Benjamin Hanft, a prominent executive who served on the board of public relations for the Workmen's Circle, a Jewish labor organization. Her sisters were Alice and Sarah Comma. The Hanft family was of Jewish heritage, with Benjamin Hanft's professional involvement in Jewish associations underscoring their cultural ties. Her father played a key role in encouraging her toward a career in the , persuading her to pursue formal opportunities in drama. This familial support laid the groundwork for her development amid the Bronx's vibrant cultural scene.

Education

Helen Hanft encountered difficulties in her early education and lacked a clear sense of purpose until her father encouraged her to audition for the High School of Performing Arts in New York City, leading to her admission in the early 1950s. Now part of Fiorello H. LaGuardia High School of Music & Art and Performing Arts, the institution provided specialized training in the performing arts, where Hanft focused her studies on drama. During her time at the school, Hanft engaged in dramatic coursework and stage activities that built her foundational skills as an actress, preparing her for a career in theater. After graduating around 1952, she did not attend college but entered the professional theater scene in the late , drawing on the practical experience gained from her high school training.

Career

Theater work

Helen Hanft began her theater career in the late before transitioning to the burgeoning scene in the early 1960s. She quickly became a fixture at innovative venues such as Caffe Cino and , where she debuted in experimental and avant-garde productions that defined the movement's campy, boundary-pushing spirit. Her brassy, comedic style in eccentric roles earned her the nickname "the of ," a moniker coined by New York Times critic Mel Gussow for her powerful, larger-than-life performances in underground theater. Throughout the 1960s and 1970s, Hanft collaborated extensively with playwright , starring in several of his raunchy, satirical works that solidified her status as a star of the world. Notable roles included the title character in Why Hanna's Skirt Won't Stay Down (1964 premiere at Caffe Cino, later a 1974 Off-Broadway run at ), the matronly Blanche in Women Behind Bars (1975, ), and the emcee in The Neon Woman (1978, Hurrah discotheque, co-starring Divine as Hedy LaRue). These productions, often mounted at low-budget spaces like La MaMa and , showcased her talent for camp humor and surreal character work, contributing to the era's ethos. Hanft appeared in over 75 productions between 1965 and 1975 alone, many of which were unpaid or minimally compensated, highlighting her dedication to the experimental scene. She also took on roles in works by other prominent playwrights, such as Helen in David Rabe's In the Boom Boom Room (1974, ) and various ensemble parts in Edward M. Cohen's Cake with Wine (1975, ). Her involvement extended into the 1980s with appearances in John Patrick Shanley's Italian American Reconciliation (1988, ) and Albert Innaurato's Gus and Al (1989, ), blending her underground roots with more established stages. In her later years, Hanft shifted toward occasional regional and festival work, including the role of Mrs. Bellotti in (2000, ). Her theater career spanned from the to the early , encompassing more than a hundred and comedic productions that cemented her legacy in the movement.

Film and television roles

Hanft transitioned from her extensive Off-Off-Broadway stage work to film in the mid-1970s, debuting on screen in Paul Mazursky's (1976) and continuing with supporting roles in films, including as a party guest in (1979) and Vivian Orkin in (1980), where she embodied quirky, eccentric characters that echoed her theatrical persona. Throughout the 1980s, Hanft appeared in several notable films, including (1987) as Lotte, the sharp-tongued liquor store owner who adds comic bite to family scenes; (1988) as the subway lady in an uncredited role; and (1988) as Miss Hellberg, the no-nonsense DMV examiner whose deadpan delivery heightened the teen comedy's chaos. In later years, she continued showcasing her comedic timing in ensemble casts, such as Aunt Ruthie in (1992), a secretary in The Associate (1996), and Grandma in The New Tenants (2009), roles that highlighted her ability to deliver tart observations amid group dynamics. Her overall film career spanned from 1976 to 2009, often featuring her as tart-tongued or eccentric women in supporting parts. Hanft made her television debut in 1985 as Mrs. Washburn on The Equalizer, marking the start of a screen career that extended to 2002. She gained particular recognition for multiple guest spots on the Law & Order franchise, portraying four distinct characters across the shows from the late 1990s to 2002, including Martha on Law & Order (1997), Mrs. Billings on Law & Order: Special Victims Unit (2000), Vera Friedman on Law & Order (2001), and Ruth Cohen on Law & Order: Criminal Intent (2002). Directors like sought Hanft for films precisely because her energy—honed in experimental theater—brought an authentic, unpredictable vibrancy to supporting roles that mainstream casts often lacked. Her origins in productions directly led to these film opportunities, as her reputation for campy, risqué performances attracted filmmakers valuing that raw theatrical edge.

Personal life

Marriage and family

Helen Hanft was married to William Landers, a , until his death years before her own. The couple shared interests in the New York theater scene but did not have children together. Hanft maintained strong familial bonds throughout her life, particularly with her sisters. Her younger sister, Alice, predeceased her, while Sarah Comma remained a close companion and outlived her. These relationships provided personal support amid her active professional years. She spent her adulthood residing in , preserving ties to her origins where her family had deep roots.

Death

Helen Hanft died on May 30, 2013, in , , at the age of 79. The was complications from an intestinal blockage following surgery at Roosevelt Hospital. She was cremated, and her ashes were given to her sister. Hanft was survived by her sister Sarah Comma, niece Anne Lopez, and nephews Benito Comma and Moses Danzer. A public memorial service was held on July 14, 2013, at 7 p.m. in the Ellington Room at Manhattan Plaza, 400 West 43rd Street. No details on attendees were publicly reported, but the event was open to the public to honor her contributions to off-Broadway theater. News of her death was announced through obituaries in major outlets, with initial tributes from the theater community highlighting her distinctive comedic style and collaborations with directors like .

Legacy

Recognition

Helen Hanft received acclaim within the theater community for her distinctive portrayals of brassy, campy characters, earning her a among enthusiasts of experimental theater despite the absence of major mainstream awards. Critics often highlighted her as a pivotal figure in the underground scene, with New York Times theater critic Mel Gussow dubbing her the "Ethel Merman of the Underground" for her bold, larger-than-life performances. Her work in Tom Eyen's plays, such as Women Behind Bars (1975), solidified her reputation as a queen of camp, though she garnered no , she received a Drama Desk Award nomination for her role in Women Behind Bars (1975). Following her death in 2013, Hanft was honored in major obituaries that underscored her enduring legacy in theater. The New York Times described her as a "master of camp way ," noting her mastery of surreal and risqué roles that defined the golden age of in the and . Similarly, Variety recognized her as a pioneer at venues like and Caffe Cino, where her contributions to experimental productions are preserved in the institution's archives, including performances in plays like What is Making Gilda So Gray? (1970). Her cult status persists through these archival records, emphasizing her impact on niche theater circles rather than broad accolades.

Cultural impact

Helen Hanft played a pivotal role in pioneering the movement of the 1960s and 1970s, emerging as a central figure in experimental theater alongside and performer Divine at venues such as and Caffe Cino. Her frequent collaborations with Eyen, including signature roles in plays like Why Hanna's Skirt Won't Stay Down and Women Behind Bars, helped define the era's boundary-pushing aesthetic, blending camp humor with surreal and risqué narratives. Hanft's brassy, unapologetic style—characterized by portrayals of eccentric, sexually frustrated women—inspired later camp and theater artists, who adopted her bold approach to comedic female characters in underground productions. As a key performer in the gay-influenced scene, her work contributed to the broader evolution of performance traditions, emphasizing exaggerated style and subversion of mainstream norms. The archival preservation of Hanft's contributions at institutions like La MaMa ensures ongoing accessibility for study, with her total involvement in over 75 Off-Off-Broadway productions from 1965 to 1975 documented across various records, including La MaMa's archives for performances such as The Faggot (1973). These materials, encompassing scripts, photographs, and production notes, highlight her role in avant-garde theater's innovative legacy. Post-2013 reflections in outlets such as and the have underscored Hanft's status as a trailblazer for non-traditional Broadway performers, crediting her with shaping the raunchy, unfiltered ethos of Off-Off-Broadway that continues to influence contemporary experimental stages.

Filmography

Film

Hanft transitioned from theater to film in the late 1970s, appearing in supporting roles across numerous productions.
  • 1976: Next Stop, Greenwich Village as Herb's Wife
  • 1979: Manhattan as Party Guest #3
  • 1980: Stardust Memories as Vivian Orkin
  • 1980: Willie & Phil as Used Cars Salesperson
  • 1981: Arthur as Perry's Wife
  • 1981: Honky Tonk Freeway as Bag Lady
  • 1985: The Purple Rose of Cairo as Movie Audience Member (uncredited)
  • 1986: 9½ Weeks as Flea Market Shawl Seller
  • 1986: Off Beat as Waitress
  • 1987: Moonstruck as Lotte
  • 1988: Coming to America as Subway Lady (uncredited)
  • 1988: License to Drive as Miss Hellberg
  • 1989: Fear, Anxiety & Depression as Roz
  • 1989: Identity Crisis as Hag
  • 1989: New York Stories as Citizen (segment "Oedipus Wrecks")
  • 1990: Betsy's Wedding as Fitter
  • 1991: The Butcher's Wife as Molly
  • 1992: Used People as Aunt Ruthie
  • 1994: North as Operator
  • 1994: I.Q. as Rose
  • 1996: The Associate as Mrs. Kupchick
  • 1999: Fever as Louisa
  • 1999: Trick as Greasy Spoon Waitress
  • 2002: Dummy as Mrs. Gurkel
  • 2004: From Other Worlds as Shirley
  • 2006: Puccini for Beginners as Old Lady at Cinema
  • 2007: Noise as Forceful Juror
  • 2009: The New Tenants as Grandma

Television

Helen Hanft made her television debut in the mid-1980s and continued with guest spots primarily in crime dramas and comedies through the early , often portraying eccentric or supporting characters that echoed her theatrical roots.

References

  1. https://www.nytimes.com/2013/06/06/theater/helen-hanft-master-of-camp-way-off-broadway-dies-at-79.html
  2. https://variety.com/2013/film/obituaries-people-news/helen-hanft-favorite-of-woody-allen-dies-at-79-1200492023/
  3. https://www.ibdb.com/broadway-cast-staff/helen-hanft-412191
  4. https://playbill.com/article/helen-hanft-brassy-actress-of-early-off-off-broadway-scene-dies-at-79-com-206044
  5. https://www.findagrave.com/memorial/234560153/helen-hanft
  6. https://www.khoolood.com/obituaries/13490/Helen-Hanft
  7. https://www.nydailynews.com/2013/06/02/off-off-broadway-actress-helen-hanft-dies-in-new-york-city-at-79/
  8. https://www.imdb.com/name/nm0359834/
  9. https://www.nytimes.com/1978/04/17/archives/new-jersey-pages-the-neon-woman-by-eyen-is-staged-divine-is-star.html
  10. https://www.nytimes.com/2000/07/10/theater/theater-review-hot-l-baltimore-life-force-in-a-hotel-of-broken-dreams.html
  11. https://www.imdb.com/title/tt0095519/characters/nm0359834
  12. https://www.broadwayworld.com/off-off-broadway/article/Helen-Hanft-Dies-at-79-Public-Memorial-Set-for-Ellington-Room-July-14-20130624
  13. https://playbill.com/article/helen-hanft-brassy-actress-of-early-off-off-broadway-scene-dies-at-79-com-206091
  14. https://www.imdb.com/name/nm0359834/otherworks/
  15. https://www.nyclgbtsites.org/wp-content/uploads/2021/03/Caffe-Cino-NR-Nomination.pdf
  16. https://www.lamama.org/archives/?s=Helen+Hanft
  17. https://www.lamama.org/archives/collection/
  18. https://www.imdb.com/title/tt0093565/fullcredits
  19. https://www.imdb.com/title/tt0169895/
  20. https://www.imdb.com/title/tt0375437/
  21. https://www.imdb.com/title/tt0492481/
  22. https://www.themoviedb.org/person/1276096-helen-hanft?language=en-US
  23. https://www.imdb.com/title/tt0094885/
  24. https://www.imdb.com/title/tt0096628/fullcredits/
  25. https://www.imdb.com/title/tt0629236/fullcredits/
  26. https://www.imdb.com/title/tt0629691/fullcredits/
  27. https://www.imdb.com/title/tt0629499/fullcredits/
  28. https://www.imdb.com/title/tt0616178/
  29. https://www.imdb.com/title/tt0629603/fullcredits/
Add your contribution
Related Hubs
User Avatar
No comments yet.