Early examples, such as his posters for the play Auntie Mame (1955) and the musical Candide (1956), already displayed the lively, colourful and almost expressionist style that would characterise his work for the next three decades.
[3] Morrow's subsequent association with producer/director Harold Prince saw him design some of the most memorable Broadway logos of the 1960s, including the Cupid motif from She Loves Me (1963), the Chagall-influenced peasant village scene from Fiddler on the Roof (1964), the crowded nightclub from Cabaret (1966) and the handstand male figure from Zorba (1968).
His paintings have the look of spontaneity and at the same time embody color sense with unusual composition which is admired by his fellow artists, who know how difficult it is to master a technique that has those attributes.
[1]Morrow's paintings could be found in the private collections of many of his colleagues in the performing arts, including not only Harold Prince but also composer/lyricist Stephen Sondheim, writer/director Arthur Laurents, choreographer Jerome Robbins, composer/musical director Saul Chaplin, fashion designer Bill Blass and actors Angela Lansbury, Joel Grey, Farley Granger, Ron Rifkin and Peggy Cass.
[2] Although Morrow's lively artistic style had become somewhat unfashionable by the 1990s, his classic images from earlier Broadway shows were introduced to a new audience through CD re-issues of original cast albums that had featured his artwork.
[5] More recently, his posters were shown alongside those of many other artists as part of an exhibition titled The Ballyhoo of Broadway, which was mounted at Grand Central Station in September 2004 to celebrated New York City's inaugural Advertising Week.