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legitimate. He bought Henry Miller’s Theater from Henry Miller’s son’s widow, Kitty Miller, for $500,000. He told Riedel years later that “Mrs. Miller went right out and bought a diamond bracelet with the money.” He also started acquiring interest in other theaters including across the country. During a career that spanned 70 years, Jimmy amassed a network of premier legitimate theaters, nine of which were on Broadway: the Brooks Atkinson, the Gershwin, the Lunt-Fontanne, the Marquis, the Minskoff, the Nederlander, the Neil Simon, the Richard Rodgers, and the Palace. Plus, there were theaters in Chicago, including the Auditorium, Bank of America, the Broadway Playhouse, the Cadillac Palace, and the Oriental. And there were theaters in Los Angeles (including the Pantages) and in London (including the Adelphi, the Al-
dwych, and the Dominion). His first really big hit came when he was 55: Annie. It opened at the Alvin Theatre (which is now the Neil Simon Theatre) on April 21, 1977, as produced by Mike Nichols. It ran initially for 2,377 performances and would become one of Broadway’s very first family shows. Raising money for it was not easy and Jimmy put in $150,000, which gave him ownership of 20 percent. He made more than a million from the Broadway run, with more from the three national tours and the film rights. It was also significant for the Nederlanders as a Broadway theater family. It wasn’t just the Shuberts anymore; it was also the Nederlanders. In his long career, he produced more than one hundred of the most acclaimed Broadway musicals and plays of all time, including: Annie, Applause, La Cage aux Folles, Me and My Girl, Nine, Noises
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