Henry Fonda was named a national treasure and presented with the National Artist Award by the American National Theatre and Academy in January 1980.
Even for a long-established and widely honored star like Fonda, the fact that he was only the eighth recipient made it a meaningful moment. His voice was husky as he accepted the award, and his eyes teared as he stood on the stage with it hanging around his neck.
It was my good fortune to be hired by the Los Angeles Times to cover the event—especially since it included a one-on-one photo session with Fonda and his wife, Shirlee.
He proved to be one of the most cordial and cooperative subjects I’d encountered. At one point he said, “This is like the kid on the block who gets a prize for eating the most fudge.” He paused, then added, “I like fudge.”
When I’d taken a few photos and was ready to stop imposing on his time, he asked if I needed any more. In my experience, that simple generosity was a rarity.
The American National Theatre and Academy, founded by Congress in the 1930s, played a major role in shaping mid-20th-century American theatre. Its short list of honorees reads like a who’s who of the American stage—making this moment, even late in Fonda’s career, one that clearly still mattered.

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