A ruggedly handsome actor, Nathan was also a producer, and a theater
owner. Teamed with his wife, Ruth Hale, he founded community theaters in
California and Utah. His children and grandchildren continue in this
family legacy of the stage to this day, and some grandsons have become
successful film directors.
Soon after Nathan met and married Ruth, they were asked to serve as
drama leaders in their ward (Mormon church congregation). They began
writing their own plays to avoid paying royalties, with Ruth doing most
of the writing, and for 8 years they staged their productions around
the Salt Lake Valley. Already having four children, Nathan was not
eligible for the draft, but he also was not happy with his job at Utah
Copper, with the dust and grime of the mining operation. After reading
in the paper about a lack of leading men in Hollywood due to WW II
military service, Ruth mentioned that he might make a go at
professional acting. Nathan replied that she had a better chance with
her acting and plays. Despite the negative reaction from family and
friends, they decided to move to southern California in 1943. Nathan
took a job as a milkman leaving days and evenings available for acting
work. He had some roles with the Altadena Players at the Pasadena
Playhouse, but film work remained elusive. However, the Hales did
participate in the production of two films in 1946 about the Mormon
welfare program, made in spare time by a team of Mormons in the film
industry assembled by Disney animator Judge Whitaker. This was the start of
film production within the Mormon Church.
With film careers not materializing, they opened the Glendale Centre
Theatre in Glendale, Ca. in 1947 (125 seats) to provide a venue for
their acting. Their success soon led to a move and expansion. They
staged plays that were free of profanity and illicit love affairs,
leading to bookings of entire performances by church groups of various
denominations. Ruth drew from her personal experiences in writing, and
Nathan's favorite role was playing his own feisty English father-in-law
in "Thank You Papa" penned by Ruth. Several actors would get their
start at the Hale's theater including Gordon Jump, Mike Farrell, Connie Stevens,
Richard Hatch, and Melissa Gilbert.
The Hales did initiate some film work of their own, independently
producing three Mormon-themed films from 1955 to 1957 assisted by their
nephew William Hale, and many members of the Glendale West Ward.
"Choice Land" was a 20 minute film about America, including Book of
Mormon scenes such as Lehi leaving Jerusalem (shot in the desert) and
one with Jaredites. The earthquake leveling Zarahemla at the time of
Christ's crucifixion was shot using a model of the city on a ping pong
table. The Pilgrims were shot wading knee deep in snow at Mr. Wilson.
"Oliver Cowdery" was filmed for $2,500 with a ten minute court scene
rehearsed and shot in one evening. A third film was entitled "Is Fast
Day a Headache ?"
Nathan and his children would all later appear in one or more films
produced for use by The Mormon Church. Nathan was well-cast as a leader
of a Mormon colony in Mexico facing a threat from Pancho Villa in the
film And Should We Die (1966), and as the grandfather in the 1986 re-make of Man's Search for Happiness (1964).
In 1983 the Hales retired to Utah, leaving their daughter Sandra and
her husband running the Glendale theater. Soon bored, they decided to
open the Salt Lake Hale Center Theatre with other family members. Hale
Center theaters have continued to be opened elsewhere after Nathan's
death. Grandsons Kurt Hale and Will Swenson have entered the ranks of
directors in LDS Cinema with The Singles Ward (2002) and Sons of Provo (2004).
