Marla Gibbs

 

Eternity Award

 

Presented to an artist or individual whose lifetime achievements have made a lasting contribution to the world of theatre.

Actor and Chicago native Marla Gibbs, employed as a reservations clerk with United Airlines, was led through a job transfer along with her three children from Detroit to Los Angeles. Joining Performing Arts Society of Los Angeles with her daughter Angela led to Ms. Gibbs’ theatre productions at Mafundi Institute and Watts Writers Workshop. Ms. Gibbs soon performed in famed play productions including Medea, Amen Corner and The Gingerbread Lady. After a few TV bit parts, ms. Gibbs landed the plum role of the quick-witted, feisty and outspoken character Florence in The Jeffersons, where she soon gained international notoriety. Within The Jeffersons 9th successful season, Ms. Gibbs landed another role in Checking In (a spin-off of The Jeffersons) which was interrupted by a writers strike. The show never recovered, which reunited her with her role as Florence in The Jeffersons. Soon after, Angela (Marla’s daughter) produced christine Houston’s award-winning play 227 in which Ms. Gibbs was cast as the lead by noted director Ed Cambridge. The play was such a smashing success that Ms. Gibbs purchased the television rights and with Norman Lear’s Embassy TV sold, then assisted as Creative Consultant in its production for NBC, where it became a five year hit series now in syndication overseas. Ms. Gibbs is a seven-time successor of the NAACP Image Award, a four-time Emmy nominee, an eight-time Family TV awardee, a Special Black Emmy Nominee honoree, a winner of two CEBA Awards and a host of national and local honors. Ms. Gibbs’ other credits mounted quickly including TV’s Doc, Barney Miller, Prior’s Place, You Can’t Take It With You, The Moneychangers, Xmas Dreams, Murder at the P.T.A., A Different World, Empty Nest, Martin Lawrence, Fresh Prince of Bel-Aire, In The Heat of The Night, and USA TV special Lilly In Winter. Ms. Gibbs’ film credits include Meteor Man and Up Against The Wall.

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