And LIFE magazine photographers were there. Gjon Mili, such a wonderful documenter of the arts, is responsible for a great many pictures here, but Gordon Parks, George Silk, Bill Ray and many others all took their swings. Their pictures capture artists at work—including actors who would later become familiar faces on television, such as Jerry Orbach (Law & Order). Angela Lansbury (Murder, She Wrote) , Barbara Bel Geddes (Dallas) and Julie Newmar (Batman).

The thrill of theater is, of course, being there. This photos are the next best thing.

Nineteen-year-old Barbra Streisand played Miss Marmelstein in the 1962 Broadway play “I Can Get It For You Wholesale.”

George Silk The LIFE Picture Collection/Shutterstock

Barbra Streisand, 1962.

George Silk The LIFE Picture Collection/Shutterstock

Marlon Brando and Kim Hunter in “A Streetcar Named Desire,” 1947.

Eliot Elisofon / The LIFE Picture Collection/Shutterstock

Jessica Tandy as Blanche Dubois in Tennessee Williams’ “A Streetcar Named Desire,” 1947.

Eliot Elisofon /The LIFE Picture Collection/Shutterstock

A 1943 production of “Oklahoma!”

Gjon Mili/Life Picture Collection/Shutterstock

Pearl Bailey during a curtain call for the Broadway production of Hello, Dolly! in 1967.

John Dominis/Life Picture Collection/Shuttertstock

Jerry Orbach (left) and an unidentified actress in a scene from the off-Broadway production of ‘Scuba Duba,’ October 1967.

Ralph Morse/Life Picture Collection/Shutterstock

Angela Lansbury opened on Broadway in “Mame” to a standing ovation, 1966.

Bill Ray/Life Picture Collection/Shutterstock

A 1953 production of Arthur Miller’s The Crucible, featuring Madeline Sherwood (rear, second from left), Arthur Kennedy (right) and Walter Hampden (second from right).

Gjon Mili/Life Picture Collection/Shutterstock

Paul Newman (left) and Geraldine Page in the Tennessee Williams play Sweet Bird of Youth, 1959.

Gordon Parks/Life PIcture Collection/Shutterstock

Sidney Poitier on the set of Porgy and Bess, 1959.

Gjon Mili Life Pictures/Shutterstock

Sidney Poitier in a scene from “Porgy and Bess,” 1959.

Gjon Mili The LIFE Picture Collection/Shutterstock

How to Succeed in Business Without Really Trying.

Gjon Mili The LIFE Picture Collection/Shutterstock

ason Robards Jr. (L) and Farrell Pelly (R) in a scene from the Eugene O’Neill play “The Iceman Cometh,” 1956.

Gordon Parks/Life Picture Collection/Shutterstock

Mary Martin and her fellow cast members soared in the 1954 Broadway production of the musical Peter Pan.

Allan Grant/Life Picture Collection/Shutterstock

A scene from “All My Sons,” 1947, starring Karl Malden.

Eileen Darby The LIFE Images Collection/Shutterstock

Julie Newmar, right, with Claudette Colbert in a scene from the Broadway play “The Marriage-Go-Round,” 1958.

Photo by Ralph Morse/The LIFE Picture Collection © Meredith Corporation

Barbara Bel Geddes in the Tennessee Williams play “Cat on a Hot Tin Roof.”

Gjon Mili/Life Picture Collection/Shutterstock

A scene from Death of a Salesman, 1949, with Lee. J. Cobb as Willy Loman.

W. Eugene Smith The LIFE Picture Collection/Shutterstock

Patrick O’Neal (right) and Margaret Leighton in the play ‘The Night of the Iguana’ by Tennessee Williams, 1962.

Leonard McCombe/Life Picture Collection/Shutterstock

Hair, the original Broadway cast, 1968

Ralph Morse The LIFE Picture Collection/Shutterstock

In Jesus Christ Superstar, Jeff Fenholt, as Jesus, was elevated with angels while Judas, played by Ben Vereen, was on a wing-shaped set platform.

John Olson/The LIFE Picture Collection © Meredith Corporation

The post LIFE’s Images of Classic Broadway appeared first on LIFE.

But for all those successes, Brando had not yet made the cover of LIFE — a magazine that prided itself on capturing and reflecting the nations’ obsessions and interests, week after week after week. In 1952, that oversight was remedied, as legendary photographer Margaret Bourke-White shot a portrait session with Brando, capturing the 28-year-old star in a casual, playful mood.

For reasons lost to time, Bourke-White’s photos — discovered in LIFE’s archives and marked with the sole descriptive phrase, “cover tries” — were never published in the magazine. (Though Bourke-White’s portraits never saw the light of day, Brando ultimately did grace the cover of LIFE, making his first appearance in character as Antony from Julius Caesar in the April 20, 1953, issue. He’d appear on the cover three more times.)

It is difficult to look at the face of the young Brando without feeling the influence of his most iconic performances, from On the Waterfront to The Godfather. Here, meet the young Brando at his most charismatic and mysterious, seen through the lens of one of LIFE’s greatest photographers, in a series of photos that never ran in the magazine.

Liz Ronk, who edited this gallery, is the Photo Editor for LIFE.com. Follow her on Twitter @lizabethronk.

Marlon Brando, 1952

Margaret Bourke-White/Life Pictures/Shutterstock

Marlon Brando, 1952

Margaret Bourke-White/Life Pictures/Shutterstock

Marlon Brando, 1952

Margaret Bourke-White/Life Pictures/Shutterstock

Marlon Brando, 1952

Margaret Bourke-White/Life Pictures/Shutterstock

Marlon Brando, 1952

Margaret Bourke-White/Life Pictures/Shutterstock

Marlon Brando, 1952

Margaret Bourke-White/Life Pictures/Shutterstock

Marlon Brando, 1952

Margaret Bourke-White Time & Life Pictures/Shutterstock

Marlon Brando, 1952

Margaret Bourke-White Time & Life Pictures/Shutterstock

Marlon Brando: First LIFE Cover

Margaret Bourke-White Time & Life Pictures/Shutterstock

The post Marlon Brando: Portraits of a Charismatic Young Star, 1952 appeared first on LIFE.

Somehow, she looks as if she knows what’s coming, even if others didn’t. As LIFE magazine reviewed her performance in the May 18, 1962, issue:

“Barbra has a lovely face that goes well with Cry Me a River and other sad ballads that she sings in nightclubs. But for her stage role she makes herself look like a sour persimmon in order to play an overworked office girl who secretly wants to be called pet names instead of being yelled at all day long, ‘Miss Marmelstein!'” It was at least a kinder review than the one she received in the New York Times, which described Streisand as a “natural comedienne” but also “a girl with an oafish expression, a loud irascible voice and an arpeggiated laugh.”

It was Streisand’s role a few years later as Fanny Brice in Funny Girl that would make a more lasting impression on audiences and critics. As TIME reported in its April 10, 1964, cover story on her breakout, “as she sings number after number and grows in the mind, she touches the heart with her awkwardness, her lunging humor, and a bravery that is all the more winning because she seems so vulnerable. People start to nudge one another and say, ‘This girl is beautiful.'”

She had come a long way from her days as an introverted Brooklyn teen and the years before she removed an “a” from her first name, as a feature in TIME magazine explained:

Her recollections of a Brooklyn girlhood are somber. “It was pretty depressing, and I’ve blocked most of it out of my mind,” she says. She never knew her father. He was a school teacher who died of a cerebral hemorrhage when his daughter Barbara Joan was a year old (1943). Her mother spent the next three years lying in bed, crying, and living on her brother’s Army allotment checks until the checks stopped and she took an office job. Barbara spent her days in the hallways of the six-story brick apartment building they lived in, accepting handout snacks from neighbors.

As a slightly older kid, she used to go up on the rooftop, smoke, and think about being the greatest star. Down in the apartment, her mother warned her never to hold hands with a boy. “I never took part in any school activities or anything,” Barbra remembers. “I was never asked out to any of the proms, and I never had a date for New Year’s Eve. I was pretty much of a loner. I was very independent. I never needed anybody, really.”

…When she was 14, she made her first trip out of Brooklyn a subway ride to Manhattan to see The Diary of Anne Frank. “I remember thinking that I could go up on the stage and play any role without any trouble at all,” she says. After school at home, she used to smoke in the bathroom and do cigarette commercials into the mirror, but she never bothered to go out for school plays. “Why go out for an amateurish high school production when you can do the real thing?”

By the time the TIME cover story came out, Streisand’s three albums already made her the world’s best-selling female recording star on LP. And so much more was yet to come.

Nineteen-year-old Barbra Streisand played Miss Marmelstein in the 1962 Broadway play “I Can Get It For You Wholesale.”

George Silk The LIFE Picture Collection/Shutterstock

Barbra Streisand, 1962.

George Silk The LIFE Picture Collection/Shutterstock

Barbra Streisand, 1962.

George Silk The LIFE Picture Collection/Shutterstock

Barbra Streisand, 1962.

George Silk The LIFE Picture Collection/Shutterstock

Elliot Gould, who played the show’s unscrupulous hero, sang to his mother, played by Lilian Roth; Gould and Streisand, who met during the show, were married from 1963 to ’71.

George Silk The LIFE Picture Collection/Shutterstock

Lillian Roth and Elliott Gould in a scene from “I Can Get It for You Wholesale.”

George Silk The LIFE Picture Collection/Shutterstock

Sheree North and Harold Lang in a scene from “I Can Get It for You Wholesale.”

George Silk The LIFE Picture Collection/Shutterstock

Barbra Streisand, 1962.

George Silk The LIFE Picture Collection/Shutterstock

Barbra Streisand, 1962.

George Silk The LIFE Picture Collection/Shutterstock

Barbra Streisand, 1962.

George Silk The LIFE Picture Collection/Shutterstock

Barbra Streisand, 1962.

George Silk The LIFE Picture Collection/Shutterstock

Barbra Streisand, 1962.

George Silk The LIFE Picture Collection/Shutterstock

The post Barbra Streisand at 19: Her Broadway Debut appeared first on LIFE.

Directed by Elia Kazan and starring Brando, Jessica Tandy, Kim Hunter and Karl Malden, the 1947 production remains a touchstone in American drama, winning both the Pulitzer Prize and the New York Drama Critics’ Circle award for the year’s best play, as well as a Best Actress Tony for Tandy for her seminal performance as the unstable, alcoholic, melodramatic Southern belle, Blanche DuBois. Despite all the accolades it earned, however, the 24-year Brando’s galvanizing turn as Stanley Kowalski — in both the play and in Kazan’s 1951 film adaptation — was what really seared the production into the pop-culture consciousness.

Gritty, sensual, violent and bleak, Williams’ great play remains one of a handful of utterly indispensable 20th-century American dramatic works, while the sensual ferocity of Brando’s Stanley can still shock, seven decades after he first unleashed the character on a rapt theatergoing public.

A Streetcar Named Desire 1947

Kim Hunter (left), Marlon Brando, Karl Malden and others in rehearsal for the original production of ‘A Streetcar Named Desire.’ (Eliot Elisofon / The LIFE Picture Collection)

Jessica Tandy as Blanche Dubois in Tennessee Williams’ “A Streetcar Named Desire,” 1947.

Eliot Elisofon /The LIFE Picture Collection/Shutterstock

Marlon Brando and Kim Hunter in “A Streetcar Named Desire,” 1947.

Eliot Elisofon / The LIFE Picture Collection/Shutterstock

A Streetcar Named Desire 1947

Eliot Elisofon The LIFE Picture Collection/Shutterstock

A Streetcar Named Desire 1947

Eliot Elisofon The LIFE Picture Collection/Shutterstock

A Streetcar Named Desire 1947

Eliot Elisofon The LIFE Picture Collection/Shutterstock

A Streetcar Named Desire 1947

Eliot Elisofon The LIFE Picture Collection/Shutterstock

A Streetcar Named Desire 1947

Eliot Elisofon The LIFE Picture Collection/Shutterstock

Tennessee Williams on the set of Streetcar Named Desire

Eliot Elisofon The LIFE Picture Collection/Shutterstock

The post Brando Takes Broadway: LIFE on the Set of ‘A Streetcar Named Desire’ in 1947 appeared first on LIFE.