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James Coco
James Coco
James Coco
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James Emil Coco (March 21, 1930 – February 25, 1987) was an American stage and screen actor. He was the recipient of a Primetime Emmy Award, a Drama Desk Award, a Cable ACE Award and three Obie Awards, as well as nominations for a Tony Award, an Academy Award and two Golden Globe Awards. Coco is remembered for his supporting roles in the films Man of La Mancha (1972), Murder by Death (1976) and Only When I Laugh (1981).

Key Information

Early life and career

[edit]

Born in the Little Italy section of Manhattan,[1] Coco was the son of Felice Lescoco, a shoemaker, and Ida Detestes Lescoco (Coco being a shortened version of his birth name).

The family moved to the Pelham Bay section of the Bronx when he was an infant, where he lived until his late teens.[1]

James began acting straight out of high school.[2] He received his acting training at HB Studio[3] in New York City. As an overweight and prematurely balding adult, he found himself relegated to character roles. He made his Broadway debut in Hotel Paradiso in 1957, but his first major recognition was for Off-Broadway's The Moon in Yellow River by Denis Johnston, for which he won an Obie Award.[4]

In 1964 Coco toured with a production of The Irregular Verb to Love, with Cyril Richard, and they appeared at the oldest Summer stock theater, Denver's Elitch Theatre.

Coco's first modern collaboration with playwright Terrence McNally was a 1968 Off-Broadway double-bill of the one-act plays Sweet Eros and Witness, followed by Here's Where I Belong, a disastrous Broadway musical adaptation of East of Eden that closed on opening night. They had far greater success with their next project, Next, a two-character play with Elaine Shore, which ran for more than 700 performances and won Coco the Drama Desk Award for Outstanding Performance. Sixteen years later, the two reunited for the Manhattan Theatre Club production of It's Only a Play.[4]

Coco also achieved success with Neil Simon, who wrote The Last of the Red Hot Lovers (1969) specifically for him. It earned him a Tony Award nomination as Best Actor in a Play. The two later joined forces for a Broadway revival of the musical Little Me and the films Murder by Death (1976), The Cheap Detective (1978) and Only When I Laugh (1981), for which he was both Oscar-nominated and Razzie-nominated.[5]

Coco, a veteran of many failed diets, was the author of the bestselling book The James Coco Diet, released on February 1, 1983, which documented his successful experience of the Structure House Weight Loss Plan, developed by Gerard Musante. However, he only lived four years after the release of his book.[6]

Film and television roles

[edit]
Coco with Doris Roberts at the premiere of Seems Like Old Times in 1980, taken by Alan Light

Coco's additional film credits include Ensign Pulver (1964), The Patty Duke Show (1965). End of the Road (1970), The Strawberry Statement (1970), Tell Me That You Love Me, Junie Moon (1970), A New Leaf (1971), Such Good Friends (1971), Man of La Mancha (1972), The Wild Party (1975), Charleston (1977), Scavenger Hunt (1979), Wholly Moses! (1980) and The Muppets Take Manhattan (1984).

Several of his films were released posthumously, including: Hunk (1987) and That's Adequate (1989).[5][7]

On television, Coco starred on two unsuccessful 1970s series, Calucci's Department and The Dumplings, and made guest appearances on many series, including ABC Stage 67, NBC Children's Theater, The Edge of Night, Marcus Welby, M.D., Trapper John, M.D., Medical Center, Maude, Fantasy Island, Alice, The Eddie Capra Mysteries, Murder, She Wrote, The Muppet Show, The Carol Burnett Show, The Love Boat, $weepstake$, and St. Elsewhere, for which he won an Emmy Award. One of his later television assignments was a recurring role as Nick Milano on the sitcom Who's the Boss?.[7] Coco died[8][1] exactly one day after[9] what was his final appearance on Who's the Boss? was broadcast.[5]

Awards and nominations

[edit]
Year Award Category Nominated work Result
1961 6th Obie Awards Distinguished Performance by an Actor
The Moon in the Yellow River
 Won
1968 13th Obie Awards Distinguished Performance
Fragments
 Won
1969 14th Drama Desk Awards Outstanding Performance
Adaptation/Next
 Won
1970 24th Tony Awards Best Actor in a Play
Last of the Red Hot Lovers
 Nominated
1973 30th Golden Globe Awards Best Supporting Actor – Motion Picture
Man of La Mancha
 Nominated
1977 22nd Obie Awards Distinguished Performance
The Transfiguration of Benno Blimpie
 Won
1982 39th Golden Globe Awards Best Supporting Actor – Motion Picture
Only When I Laugh
 Nominated
54th Academy Awards Best Supporting Actor Nominated
2nd Golden Raspberry Awards Worst Supporting Actor Nominated
1983 35th Primetime Emmy Awards Outstanding Supporting Actor in a Drama Series
St. Elsewhere, (Episode: "Cora and Arnie")
 Won
1985 7th CableACE Awards Best Actor in a Dramatic Series
The Ray Bradbury Theater, (Episode: "Marionettes, Inc.")
 Won

Personal life

[edit]

Coco was gay. This information became available nine years after he died.[10]

Death

[edit]

Coco died at St. Vincent's Hospital, Manhattan, on February 25, 1987, at age 56 after suffering a heart attack at his Greenwich Village home.[2] He is buried in St. Gertrude's Roman Catholic Cemetery in Colonia, New Jersey.[11]

Works

[edit]
  • Coco, James; Paone, Marion (1984). The James Coco Diet. Bantam Books. ISBN 978-0-553-05024-0.[6]

Filmography

[edit]

References

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

James Coco

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from Grokipedia
James Coco (March 21, 1930 – February 25, 1987) was an American celebrated for his versatile and often comedic portrayals across , film, and television, earning acclaim for his timing, expressiveness, and ability to embody eccentric roles. Born James Emil Coco in to Italian immigrant parents—a shoemaker father named Felice and homemaker mother Ida—Coco grew up in a traditional Italian-American household in , where he developed an early passion for performing. After graduating high school, he studied acting under and joined a children's theater company before making his professional debut in a touring children's theater company, portraying roles such as . His Broadway breakthrough came in 1957 with a supporting role in Hotel Paradiso alongside and , launching a prolific career that included standout performances in Terrence McNally's Next (1969, 707 performances) and Neil Simon's The Last of the Red Hot Lovers (1969, 706 performances). Coco's film work began with Ensign Pulver (1964) and gained momentum with his Golden Globe-nominated portrayal of Sancho Panza in Man of La Mancha (1972) opposite Peter O'Toole. He further showcased his comedic talents in ensemble films like Robert Moore's Murder by Death (1976), where he played the bumbling detective Milo Perrier, and earned an Academy Award nomination for Best Supporting Actor for his role as a flamboyant patient in Only When I Laugh (1981). On television, Coco headlined short-lived sitcoms such as Calucci's Department (1973) and The Dumplings (1976), but achieved greater recognition with guest appearances on St. Elsewhere (1982, 1987), winning a Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series for the 1982 episode "Cora and Arnie" in 1983. Throughout his career, he garnered three Obie Awards for Off-Broadway work—including for The Moon in the Yellow River (1961)—a Drama Desk Award, and a Tony Award nomination, cementing his status as a key figure in mid-20th-century American entertainment. Coco died of a heart attack on February 25, 1987, at St. Vincent's Hospital in , at the age of 56.

Early life

Childhood and family background

James Coco was born on March 21, 1930, in the section of , , to Italian immigrant parents Felice Coco, a shoemaker, and Ida Testai Coco, a homemaker. His father had emigrated from , while his mother, of Italian descent, was born in , . Shortly after his birth, Coco's family relocated to the Pelham Bay section of , where he spent his formative years in a modest, working-class . He had an older sister, Lucia, and an older brother, Francis, and the family navigated the economic hardships of the , with his father's occupation as a shoemaker providing limited stability amid widespread and in immigrant communities. As a , Coco often assisted his father by shining shoes, an experience that underscored the family's socioeconomic challenges and fostered his early resilience. Growing up in this environment, Coco developed an early interest in performance and entertainment, influenced by the vibrant cultural life of his Italian-American neighborhood and the escapist allure of theater during tough times. These childhood aspirations, rooted in a desire to transcend his humble origins, later propelled him toward pursuits following high school.

Education and acting training

James Coco attended Evander Childs High School in , where he developed an early interest in acting inspired by films he watched as a . Upon graduating in the late , he chose not to pursue higher education, instead committing directly to a career in performance, driven by his family's modest circumstances as the son of an Italian immigrant shoemaker. Coco received his formal acting training at the in , , founded by and later co-led by . There, he studied under Hagen and Berghof, who emphasized techniques focused on emotional authenticity and character immersion, skills that became central to his versatile portrayals. This rigorous program honed his abilities in scene work and , preparing him for professional opportunities. While building his skills, Coco supported himself through odd jobs, including working as a toy demonstrator at Macy's, all while actively auditioning in the competitive New York theater scene. He gained foundational experience through minor roles in community theater workshops, notably joining the Clare Tree Major Children's Theater group shortly after high school, where he performed in productions for young audiences and toured locally. These early, unpaid engagements allowed him to practice ensemble work and build confidence in front of live audiences, laying the groundwork for his transition to professional stages.

Stage career

Debut and early theater roles

James Coco began his professional acting career following training at the HB Studio in New York City, where he honed his craft under influential teachers. Coco made his Broadway debut in 1957 as the professor Tabu in George Feydeau's farce Hotel Paradiso, directed by Robert Lewis and co-starring and ; the production ran for 95 performances at the Henry Miller Theatre. His breakthrough came in 1961 with an for Distinguished Performance by an Actor as Tausch, the humorless German scientist, in Denis Johnston's The Moon in the Yellow River at the East End Theatre, marking his first major critical acclaim in experimental work. As a character actor of Italian descent from a working-class Bronx family, Coco faced challenges breaking into the predominantly Anglo-dominated theater scene of the 1950s and early 1960s, often limited to supporting roles due to his premature balding and stocky build, which typecast him early in ethnic or comedic character parts.

Major Broadway and off-Broadway productions

James Coco achieved prominence in American theater through a series of standout performances in both Broadway and off-Broadway productions during the 1960s and 1970s, often showcasing his gift for comedic timing and character depth. His breakthrough off-Broadway role came in Terrence McNally's one-act comedy Next (1969), where he starred as Max Brasch, a middle-aged, out-of-shape history teacher enduring a humiliating army physical examination, earning widespread praise for his physical comedy and vulnerability. Directed by Elaine May at the New Theater in Greenwich Village, the production ran for 707 performances and highlighted Coco's ability to blend humor with pathos in intimate settings. Transitioning to Broadway, Coco delivered a career-defining performance as Barney Cashman in Neil Simon's The Last of the Red Hot Lovers (1969–1971), portraying a mild-mannered attempting middle-aged romantic escapades across three encounters with different women. The play, directed by Robert Moore at the , enjoyed a successful run of 706 performances, with critics lauding Coco's nuanced comedic delivery and emotional authenticity as central to its appeal. In 1977, Coco earned his third Obie Award for his portrayal of the titular character in Albert Innaurato's The Transfiguration of Benno Blimpie, a dark comedy about a man's grotesque obsessions and downfall, presented as part of the double bill Monsters at the . Coco's contributions extended his reputation for versatility beyond mainstream comedy, as seen in his Obie-winning turn in Murray Schisgal's Fragments (1967), a fragmented ensemble piece at the Theater de Lys that showcased his dramatic intensity amid staging. These roles underscored Coco's adaptability in innovative, non-commercial theater throughout the era. In the 1980s, Coco continued to shine in revivals that capitalized on his versatile character work. He took on the boisterous role of Boris Kolenkhov, the flamboyant Russian wrestling instructor, in the Theater revival of and Moss Hart's You Can't Take It With You (1983–1984) at the Plymouth Theatre, directed by , where his energetic portrayal added fresh vitality to the classic comedy during its 312-performance run. Similarly, in the Mary Tyler Moore-starring revival of and Cy Coleman's Little Me (1982) at the , Coco played multiple roles—including the pompous Amos Pinchley, the lecherous Otto Schnitzler, and the aristocratic Prince Cherney—demonstrating his chameleon-like range in a production that ran for 36 performances under the direction of .

Screen career

Film performances

James Coco began his film career in 1964 with the role of Skouras in , directed by , and gained prominence in the 1970s, leveraging his Broadway experience to portray character roles that emphasized his versatile comic timing and emotional depth in ensemble-driven narratives. His early films included a supporting part in The Strawberry Statement (1970), but it was his stage-to-screen adaptation that marked his breakthrough. In (1972), directed by , Coco reprised his Tony-nominated Broadway role as , the loyal and earthy squire to Peter O'Toole's . Drawing from his original stage performance, Coco infused the character with a grounded realism and wry humor, balancing the film's musical fantasy elements while highlighting the duo's improbable friendship amid the Spanish Inquisition's grim setting. Critics noted his ability to humanize the role, making Sancho a poignant to Quixote's delusions, which helped the resonate despite mixed reviews on its overall execution. Coco's comedic flair shone in Murder by Death (1976), a Neil Simon-scripted parody of directed by Robert Moore. He played Milo Perrier, a flamboyant Belgian sleuth spoofing , complete with exaggerated mannerisms and a neurotic Pomeranian sidekick. As part of an all-star cast including and , Coco's performance added chaotic energy to the ensemble at a mysterious mansion, where literary archetypes clash in absurd twists. His timing and were praised for elevating the film's satirical bite, contributing to its status as a favorite for blending with genre homage. A shift to more dramatic territory came with Only When I Laugh (1981), where Coco portrayed Jimmy, the devoted but struggling gay actor and confidant to Marsha Mason's recovering alcoholic Georgia. Directed by Glenn Jordan from a screenplay, the film explored themes of friendship and resilience in New York City's theater world. Coco's nuanced depiction of Jimmy's quiet loyalty and unspoken vulnerabilities provided emotional anchor to the ensemble, showcasing his range beyond comedy and earning acclaim for its heartfelt authenticity in supporting the lead's journey toward sobriety. Throughout the decade, Coco appeared in supporting capacities in films like (1978) and (1979), often bringing his signature warmth to quirky ensemble pieces that underscored his reliability as a in Hollywood's character-driven comedies and dramas.

Television roles and series

Coco's transition to television was bolstered by his rising film profile in the early , allowing him to secure lead roles in sitcoms that highlighted his charm and comedic timing. His small-screen debut as a series regular came in Calucci's Department (1973), a comedy where he portrayed Joe Calucci, the exasperated supervisor of a bustling unemployment office staffed by an eclectic group of characters. Created by and , the show aired 18 episodes from September to December 1973, focusing on the daily absurdities and interpersonal dynamics of blue-collar life, but it failed to attract sufficient viewership and was axed after three months. In 1976, Coco took the lead in another short-lived family-oriented sitcom, The Dumplings on , playing Joe Dumpling, a jovial, overweight who co-owned Dudley's Take-Out, a modest restaurant, with his devoted wife Angela (Geraldine Brooks). Produced by , the series depicted the couple's loving but chaotic home life above the eatery, interspersed with quirky neighbors and workplace antics, running for just 10 episodes during the 1975–76 season before cancellation amid low ratings. Despite their brevity, both series demonstrated Coco's ability to anchor ensemble comedies with his warm, relatable portrayals of working-class figures. Coco achieved greater recognition for his recurring role as the compassionate priest Father Robert Caldwell on the medical drama from 1982 to 1987. His performance earned him the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series in 1983. Beyond starring vehicles, Coco frequently appeared as a guest on popular television programs, leveraging his Italian-American heritage for colorful, humorous supporting roles in ethnic-themed storylines. Notable spots included an episode of the spin-off Maude (1976), where he played Dr. Channing McGrath in a plot involving swinging couples, as well as appearances on (1984) and . These roles underscored his versatility on the small screen, often bringing levity to dramatic or ensemble formats. Coco's last significant television work was a recurring turn as Nick Milano, the boisterous father-in-law of Tony Micelli (Tony Danza), on the ABC sitcom Who's the Boss? from 1985 to 1987. Appearing in several episodes across seasons three and four, he infused the character with his signature blend of gruff affection and comic bluster, including a memorable storyline in "Diet in Cell Block 11" (1987) where Nick schemes from prison. Tragically, Coco passed away from a heart attack on February 25, 1987, just one day after that episode aired, with the subsequent installment dedicated to his memory.

Awards and honors

Theater awards and nominations

James Coco received significant recognition for his stage work, particularly in productions, where his versatile performances in comedic and dramatic roles earned him three , the highest honor for theater. His first Obie came in 1961 for his portrayal of Tausch in Denis Johnston's The Moon in the at the Circle in the Square Theatre, where critics praised his ability to infuse the character with a mix of humor and , highlighting his early promise as a . In 1968, he won another Obie for Distinguished Performance in Murray Schisgal's Fragments, a double bill of one-act plays that showcased his timing in absurd, satirical sketches. Coco's third Obie arrived in 1977 for his role in The Transfiguration of Benno Blimpie by Albert Innaurato, earning acclaim for his empathetic depiction of a misfit seeking transcendence amid urban decay. Transitioning to more mainstream recognition, Coco's star turn in Terrence McNally's Next (1969) at the garnered him the Drama Desk Award for Outstanding Performance, underscoring his comedic brilliance as a middle-aged man navigating a with awkward charm. The production's success, running over 700 performances, solidified his reputation for blending vulnerability with sharp wit in intimate theater settings. On Broadway, Coco's only Tony Award nomination came in 1970 for Best Actor in a Play for his lead role as Barney Cashman in Neil Simon's The Last of the Red Hot Lovers, where he portrayed a fish-out-of-water middle-aged man attempting extramarital affairs, capturing the era's shifting social mores with relatable insecurity. Though he did not win—the award went to for —the nomination affirmed his crossover appeal from innovation to commercial success. These honors collectively reflect Coco's influence in elevating character-driven theater during the and , emphasizing his skill in humanizing flawed protagonists.

Film and television awards and nominations

James Coco received significant recognition for his screen work, particularly in the 1980s, where his performances in film and television earned him prestigious awards alongside some satirical critiques. His transition from stage to screen culminated in a career-defining Emmy win, highlighting his versatility in dramatic roles. In 1983, Coco won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series for his guest appearance as Arnie, a poignant hospital patient suffering from memory loss, in the St. Elsewhere episode "Cora and Arnie." This role, drawn from his brief but impactful television stint on the medical drama, showcased his ability to convey deep emotional vulnerability. Coco's film performances also garnered major nominations. He received an Academy Award nomination for Best Supporting Actor in 1982 for his role as Jimmy in Only When I Laugh (1981), a dramedy about and recovery where he played a loyal, wisecracking friend to the protagonist. This marked his only Oscar nod and underscored his supporting strengths in ensemble casts. Complementing the Oscar recognition, Coco earned two Golden Globe nominations. In 1973, he was nominated for Best Supporting Actor – Motion Picture for his portrayal of in Man of La Mancha (1972), a screen adaptation of the Broadway musical. He received another nomination in 1982 for Best Supporting Actor – Motion Picture for Only When I Laugh.
YearAwardCategoryWorkResult
1983Outstanding Supporting Actor in a Drama Series ("Cora and Arnie")Won
1982Best Supporting ActorOnly When I LaughNominated
1982Best Supporting Actor – Motion PictureOnly When I LaughNominated
1973Best Supporting Actor – Motion PictureNominated
1985Cable ACE AwardsActor in a Dramatic Series ("Marionettes, Inc.")Won
1982Worst Supporting ActorOnly When I LaughNominated
Coco's dual Oscar and Razzie nominations for the same role in Only When I Laugh highlighted the polarizing reception of some of his comedic efforts, positioning him as the first to achieve this ironic distinction and reflecting the era's mixed views on his screen persona.

Personal life and death

Family, relationships, and sexuality

Coco was born into a loving, close-knit Italian-American family in , New York, where his father, Felice Coco, worked as a shoemaker and his mother, Ida (born Caetana Testai in ) Coco, was a homemaker who emphasized traditional family gatherings like extended Sunday dinners. He had a sister, Lucia, and a brother named Frank, with whom he shared limited but supportive interactions throughout his life; his parents both passed away before his career reached its height in the 1970s and 1980s, with his mother dying in 1943 when he was 13 and his father in 1969. Coco never married and had no known children, maintaining a lifelong status that aligned with the discreet typical of many in his era. His sexuality as a man was not publicly acknowledged during his lifetime but was among family, close friends, and theater colleagues, emerging more fully in posthumous accounts such as those in Boze Hadleigh's 1996 book Hollywood Gays, which included conversations revealing his experiences with gay roles and identity. In the mid-20th-century entertainment industry, Coco navigated a existence to avoid public scandals that could jeopardize professional opportunities, a common challenge for performers during a time when was stigmatized and often illegal. His relationships remained private and largely confined to theater circles, including deep friendships with playwright —with whom he hosted weekly poker games in the 1960s and 1970s and to whom he bequeathed his apartment—and actor , who directed him in productions and shared a similar professional life. These bonds provided personal support amid the era's cultural pressures, though details of romantic partners were kept out of the public eye.

Health issues and death

Throughout his career, James Coco battled , having been an child who maintained a heavy build despite periodic efforts. This condition, compounded by his affinity for , contributed to long-term cardiac problems that ultimately led to his death. Coco suffered a fatal heart attack on February 25, , at the age of 56, collapsing in his apartment before being rushed to St. Vincent's Hospital in , where he was pronounced dead. The incident occurred just one day after the airing of his final episode on Who's the Boss?, titled "Diet in Cell Block 11." He was buried at Saint Gertrude Cemetery in Colonia, New Jersey. Peers paid immediate tribute to Coco following his passing; playwright Neil Simon, with whom he had frequently collaborated, eulogized him as "an acting comedian... as funny as any actor I've ever met," noting how Coco "typified the loser" through his vulnerable portrayals of flawed characters. In 1996, nine years after his death, details about Coco's sexuality emerged publicly through Boze Hadleigh's book Hollywood Gays: Conversations With Cary Grant, Liberace, Tony Perkins, Paul Lynde, Cesar Romero, Brad Davis, Randolph Scott, James Coco, William Haines, David Lewis, confirming he had been a gay man who kept his personal life private during his lifetime. This revelation addressed longstanding gaps in public understanding of his private experiences.

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