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Ruth Hale considered herself primarily a writer, having penned over 70 plays, but she gained greater recognition as an actress and theater owner. Alongside her husband Nathan, she established community theaters in California, Utah, and Arizona; their children and grandchildren continue this family tradition today.
After spending two years at the University of Utah, Ruth taught school until age 19, then embarked on a religious mission in the eastern United States for the LDS (Mormon) Church. Upon returning to Utah, she met and married Nathan Hale. The couple was appointed drama leaders in their ward (Mormon congregation) and began writing their own plays to avoid royalty fees. For eight years, they toured the Salt Lake Valley performing their works. Nathan, dissatisfied with his job at Utah Copper, was encouraged by Ruth to pursue acting due to the scarcity of leading men in Hollywood during WWII. In 1943, they relocated to southern California where Nathan worked as a milkman to stay available for acting opportunities. He performed with the Altadena Players at the Pasadena Playhouse, while Ruth continued writing plays, some selling for $100 each. In 1946, the Hales took part in producing two films about the Mormon welfare program, organized by Judge Whitaker, marking the beginning of film production within the Mormon Church.
When other film projects failed to develop, the Hales opened the 125-seat Glendale Centre Theatre in Glendale, California in 1947. They later expanded after finding success, partly due to staging plays free from profanity and illicit romance. This attracted bookings from church groups across various denominations. Their children often acted in productions, and the family home was frequently rearranged to meet stage needs. Ruth drew on personal experiences in her writing; for example, "Lilacs in the Rain" was inspired by a young man who wished to marry her before her mission, and "Thank You Papa" reflected her life with her spirited English father. Several actors launched their careers at the Hales' theater, including Gordon Jump, Mike Farrell, Connie Stevens, Richard Hatch, and Melissa Gilbert.
Following their approach with plays, the Hales initiated their own film projects, producing three Mormon-themed films between 1955 and 1957, with assistance from their nephew William Hale and members of the Glendale West Ward. The first, "Choice Land," was a 20-minute film about America, featuring scenes from the Book of Mormon such as Lehi’s departure from Jerusalem (filmed in the desert) and the Jaredites. The earthquake that destroyed Zarahemla at Christ’s crucifixion was depicted using a city model on a ping-pong table. Pilgrim scenes were shot knee-deep in snow at Mt. Wilson. "Oliver Cowdery" was produced for $2,500, with a ten-minute courtroom scene rehearsed and filmed in a single evening. Their third film was titled "Is Fast Day a Headache?"
The Hales and their six children appeared in one or more films created for the Mormon Church. Ruth wrote the story for the controversial 'Til Death Do Us Part (1960), where their daughter Sherry portrayed a young woman considering an interfaith marriage. In 1983, the family retired to Utah, leaving their daughter Sandra and her husband in charge of the theater. Soon restless, they established the Salt Lake Hale Center Theater with other relatives, leading to the creation of additional Hale Center theaters elsewhere.
Beginning the year Nathan passed away, Ruth added TV movies and theatrical films to her stage work. She continued acting into her 90s, even performing in a wheelchair after a major stroke in February 2001. She made a cameo in The Singles Ward (2002), the directorial debut of grandson Kurt Hale. Another grandson, Will Swenson, also joined LDS Cinema as a director with Sons of Provo (2004).
