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Adrian Hall propelled a fledging community theatre in Providence, R.I. to the award winning Trinity Repertory Company and dedicated himself to the creation of a national theater outside the limitations of the commercial theatre. Hall was born and educated in rural East Texas and California. He taught public school in Galveston two years before being drafted into the Army where he served as artistic director of the 7th Army special services in Europe. After professional theater apprenticeship in Houston he arrived in New York in 1955 and directed 14 plays reviewed by the NY critics - some lasting over 400 performances. Although influenced by many famous theater artists during his years off-Broadway, he credits the influence of the blind producer Stella Holt (who ran off-Broadway's Greenwich Mews) and real estate magnate/Broadway producer Roger Stevens (who later became the head of the National Endowment of the Arts) as his two major influences. The years spent in association at Greenwich Mews - a multi-ethnic, multi-racial theater born from the social labor and union strife of the 30s - were formative in the creation of his social and moral ideals about equality and responsibility to the community. From Roger Stevens came the fierce determination to be part of a National Theater. Hall went to Providence, RI in 1964 and in 1983 took over the artistic management of the Dallas Theatre Center as well as his firmly established Trinity Repertory Company in a bold attempt to make the first connecting link of a National Theatre. For five years he led both theaters in tandem 2,000 miles apart, a feat never duplicated in the history of the American theater. In 1989 he relinquished both positions and became an active free-lance Director and master Teacher in theaters and Universities throughout the country. He is the recipient of numerous theater awards and six honorary Doctor of fine arts and letters and is widely recognized as one of the most influential American theater directors of the post WW II period. In his career, he has seen his belief in the primacy of the artist and in the value of the confrontation between actor and audience come to full fruition. He has been the subject of many articles and books including Theatre to Change Men’s Souls: The Artistry of Adrian Hall by Jeannie Woods, published by the University of Delaware Press in 1993.