Helen Hayes

Her years on the New York stage and on film: STAGE "Old Dutch," 1909. "The Summer Widowers," 1910. "The Never Homes," 1911. "The Prodigal Husband," 1914. "Penrod," 1918. "Dear Brutus," 1918. "Clarence," 1919. "Bab," 1920. "The Wren," 1921. "Golden Days," 1921. "To the Ladies," 1922. "We Moderns," 1924. "She Stoops to Conquer," 1924. "Dancing Mothers," 1924. "Quarantine," 1924. "Caesar and Cleopatra," 1925. "Young Blood," 1925. "What Every Woman Knows," 1925. "Coquette," 1927. "Mr.

Actress and author Michele Greene has sold her longtime home in the Hollywood Dell for $931,000. The classic Spanish-style house, built in 1923, was restored and upgraded in 2004. Once home to director King Vidor and, later, actress Helen Hayes, the residence retains coved ceilings, arches, expansive windows with original glass and a Batchelder tile fireplace. The 1,800-square-foot house includes an eat-in kitchen, four bedrooms and two bathrooms. Outside are two patios, rose and vegetable gardens, and a roof deck.

The first lady of American theater, actress Helen Hayes, was in good spirits at a hospital today recovering from the effects of altitude sickness, hospital officials said. "She's very stable and in good condition," said Kim Zimmer, director of public relations at St. Mary's Hospital. Hayes, 87, was flown by helicopter Sunday from Crested Butte, an old mining town and ski resort in the Colorado Rockies at an elevation of nearly 10,000 feet.

Nan Martin, a stage, TV and film actress who played Ali MacGraw's snobbish mother in "Goodbye, Columbus" and was a mainstay on the Southern California theater scene for decades, has died. She was 82. Martin, who suffered from emphysema, died Thursday at her home in Malibu, said her son Casey Dolan. Among Martin's Broadway credits are a Tony-nominated role in Archibald MacLeish's "J.B." (1958-59), directed by Elia Kazan; "Under the Yum Yum Tree" (1960-61); and Tennessee Williams' "The Eccentricities of a Nightingale" (1976)

Actress Helen Hayes was hospitalized Tuesday in critical condition with congestive heart failure, a hospital official said. Hayes, 92, was brought to Nyack Hospital by ambulance at 2:30 a.m. and was also found to have an irregular heartbeat, spokeswoman Nancy Kriz said. Hayes' son, actor James MacArthur, and his wife were expected to arrive at the hospital after flying in from California, Kriz said. Hayes lives in Nyack, which is north of New York City.

In her memoirs, Helen Hayes, who died Wednesday at the age of 92, told one of the most romantic stories I know, even for an industry in which romantic stories are as common and necessary as oxygen. When she met playwright Charles MacArthur, who was to become her husband, at a party in the Manhattan studio of artist Neysa McMein, it was love at first sight. Late in the evening, he poured some salted peanuts into her hand and said, "I wish they were emeralds."

--After 110 years, Washington's Cosmos Club is about to welcome its first women members, with actress Helen Hayes and Labor Secretary Ann Dore McLaughlin among the first to join, club President Tedson Meyers announced. After years of legal challenges, the club said in June that it would change its all-male membership policy. Two days later, the Supreme Court upheld a New York City law forcing clubs dealing in business matters to admit women and minorities.

Helen Hayes was remembered Saturday at a hometown funeral miles from the bright lights of Broadway, with more than 500 friends packing the church she attended to say goodby to the first lady of the American theater. "We are not burying a personage, we're burying a person," Cardinal John J. O'Connor told the crowd at St. Ann's Roman Catholic Church. "We're not burying the first lady of the stage. We're burying Helen Hayes MacArthur--woman, mother, wife, Catholic, beloved actress."

Helen Hayes, the diminutive and demure grande dame of the American theater, whose 87 years of stage, film and television performances--as tots, ingenues, queens, nuns and matriarchs--earned her the enduring affection of four generations, died Wednesday. She was 92. She had been brought to Nyack Hospital in that New York City suburb and admitted March 8 for treatment of congestive heart failure. Her family was with her when she died, a hospital spokeswoman said.

Actress and author Michele Greene has put her home in the Hollywood Dell on the market at $1.05 million. The classic Spanish-style house was built in 1923 and redone in 2004 with extensive upgrades. Once home to director King Vidor and, later, actress Helen Hayes, the residence retains the coved ceilings, arches, expansive windows with original glass and a Batchelder tile fireplace. On the market for the first time in 20 years, the 1,800-square-foot house includes an eat-in kitchen, four bedrooms and two bathrooms.

THE new impresarios in town aim to prove that somebody besides the Nederlander Organization can do Broadway-level commercial theater in L.A. and make it pay. But they aren't being brash about it.

Regarding your article on Long Beach Opera's production of Luigi Dallapiccola's opera "Night Flight" ("The Italians Have a Word for It," by John Henken, June 11): The same story by Antoine de Saint-Exupery was made into a film by MGM in 1932. Directed by Clarence Brown, "Night Flight" starred Clark Gable and Helen Hayes and included a highly innovative score by my father, Herbert Stothart. Although the film is not out in video, I'm sure Turner Classic Movies has it in its archives.

Haven't we yet heard the last of Poor-Little-Misunderstood-but-Look-What-a-Genius-I-Am Don Johnson (Letters, April 11)? Enough already! Now we have to read of a director, Peter Werner, lauding this latent enfant terrible, all the while dropping names, like an excited codfish aristocrat, of actors he's guided, several of whom bear recognition as accomplished tantrum throwers themselves. As an actor who's also been privileged to play important roles opposite such renowned performers as Mary Martin, Jimmy Stewart, Henry Fonda, Helen Hayes, Gene Kelly, Fred Astaire, Claude Rains and Fredric March, among many others, I can assure a skeptic reader none of these artists behaved obnoxiously or took rudeness to new heights.

Comparing Roseanne to Helen Hayes? Well, Rozen does work for People. The Book Review is my last hope and chance of reading something literary in the Los Angeles Times and you have a book reviewer writing slang in the context of the review: "disses"; "c'mon." If you don't require your book reviewers to have a vocabulary then how do we know they even understand what they are reading? Please write in English, some of us still speak it. If I wanted a foreign language newspaper or a teen magazine I'd buy one. NANCY WEST, MARINA DEL REY

Helen Hayes was remembered Saturday at a hometown funeral miles from the bright lights of Broadway, with more than 500 friends packing the church she attended to say goodby to the first lady of the American theater. "We are not burying a personage, we're burying a person," Cardinal John J. O'Connor told the crowd at St. Ann's Roman Catholic Church. "We're not burying the first lady of the stage. We're burying Helen Hayes MacArthur--woman, mother, wife, Catholic, beloved actress."

In her memoirs, Helen Hayes, who died Wednesday at the age of 92, told one of the most romantic stories I know, even for an industry in which romantic stories are as common and necessary as oxygen. When she met playwright Charles MacArthur, who was to become her husband, at a party in the Manhattan studio of artist Neysa McMein, it was love at first sight. Late in the evening, he poured some salted peanuts into her hand and said, "I wish they were emeralds."

"Ah, that's our mockingbird," Helen Hayes says. She is sitting on the porch of the white Victorian house she and Charles MacArthur bought nearly 60 years ago. There is indeed a lovely liquid trilling to be heard in the trees. "He likes to join the conversation," she says. It is a warm spring morning but the sun has not yet burned the haze off the Hudson below, giving the river a soft and timeless look that you can imagine Ichabod Crane and boatloads of patroons gazed upon in their time.

Her years on the New York stage and on film: STAGE "Old Dutch," 1909. "The Summer Widowers," 1910. "The Never Homes," 1911. "The Prodigal Husband," 1914. "Penrod," 1918. "Dear Brutus," 1918. "Clarence," 1919. "Bab," 1920. "The Wren," 1921. "Golden Days," 1921. "To the Ladies," 1922. "We Moderns," 1924. "She Stoops to Conquer," 1924. "Dancing Mothers," 1924. "Quarantine," 1924. "Caesar and Cleopatra," 1925. "Young Blood," 1925. "What Every Woman Knows," 1925. "Coquette," 1927. "Mr.