42ND STREET MOON

Bring On The Girls!

2008-01-06T13:12:00.000-08:00

One of the most remarkable theatrical memoirs ever written is by the musical book and lyrics collaborators P.G. Wodehouse and Guy Bolton, looking back at their wild and fruitful careers together and apart in both London and New York in the first three decades of the 20th century. It was published in 1953, when most of the theatrical managers they dealt with, such as Flo Ziegfield, Abe Erlanger and Col. Henry W. Savage, were safely gone from the earth and they could tell outrageously funny insider stories about their greed, cupidity, and general insanity. In fact, it may be the wittiest memoir I have ever read, and the sheer pleasure Bolton and Wodehouse took in each other's sensibilities comes through on every page. Though not available at the San Francisco Public Library (what's wrong with that place?), you can order a used copy on Amazon (click here).

There is a long chapter in the book about the genesis of "Oh, Lady, Lady" that is fascinating. After their first two collaborations, "Oh, Boy!" and "Leave It to Jane," Bolton and Wodehouse were on top of the world, thinking they could do no wrong, which of course is when they turned out three turkeys in a row, "The Rose of China," "The Riviera Girl," and "Miss 1917." Their account of this trio of disasters is hilarious, and by the end of them, the two authors are thinking about going back to architecture and journalism respectively. Out of the blue, however, they were contacted by Ray Comstock, the theatrical manager of the Princess Theatre, who wanted them to try and recreate their "Oh, Boy!" success and out of that process they produced yet another smash with "Oh, Lady, Lady."

It wasn't all smooth sailing, however. At the out-of-town tryout in Wilmington, Delaware, on a Wednesday matinee performance on Christmas Eve, only 36 people showed up in the audience, and they didn't utter a single peep or laugh. Let me quote the rest:

"They were so quiet that halfway through the first act Bolton, forgetting their existence, rose and addressed Harry Brown, who was playing his opening scene with Carroll McComas.

"That's wrong, Harry," he said. "You'll kill the laughs if you keep pointing to the settee. Carroll would be bound to know what you were talking about." His voice trailed off into silence as he became aware of thirty-six blank faces which had turned and were regarding him with astonishment from rows one and two. Plum [Wodehouse] came to the rescue.

"Ladies and gentlemen," he said. "We must apologize. We're down here trying to get this show right for New York, and Mr. Bolton has just spotted something that is wrong. Would you mind if we fixed it?" Some civil person said, "Not at all. Go ahead," and Guy, encouraged, found his voice. "There are so few of you," he said, "and you were keeping so quiet that I had quite forgotten you were there." This got a better laugh than any of the lines in the show, and Guy said, "We're all a little dizzy these days, and I thought we were having a rehearsal. If you don't mind, we'll have one now."

It was one of the most successful rehearsals in the history of the stage. The audience listened with rapt attention as the authors made their corrections. Many of them contributed suggestions. When the performance ended, the cast came down to the footlights and signed the programs that were handed up to them."

Check out the whole book. I can't recommend it highly enough.

Tom Orr's "Venus" Memories

2007-12-12T00:48:00.000-08:00

Tom Orr has become a 42nd Street Moon regular in the last two-and-a-half years. He debuted with us in Mack & Mabel, and has appeared in several shows since then. He has contributed his talents to the Gala and behind the scenes as well. Tom just sent me this lovely little remembrance of his experience in One Touch of Venus.

My favorite memories from "One Touch of Venus," as usual when I do a Moon show, all involve watching from the wings. In the typically short rehearsal process, we're often dismissed early if we're not in a given scene and so we don't get to see the process as our fellow castmates work on a dance sequence or finesse a dramatic moment in rehearsal.

Then we get to the Eureka and put the show together
with all the light cues and costumes just in time for
the audiences to come enjoy what we've created. So the
only chance we ever get to see the show is when we're
in the wings waiting for an entrance or during a
costume change. I always make an effort to catch my
colleagues strutting their stuff: e.g. Amy Louise Cole
nailing a zinger with her impeccable timing; or Nina
Josephs standing centerstage and smoldering at the end
of a solo; etc.

In "Venus," my favorite number was in the bus station
scene. I had a couple of quick bits as Taxi Black
before and after "Way Out West In Jersey." Every night
I'd stand offstage left and happily watch Juliet,
Anil, Elise and Jarrod bust out Tom Segal's amazing
jitterbug choreography while Chris Macomber hooted and
hollered as Mrs. Kramer. The dance came out of
nowhere, had nothing to do with the plot, and brought
down the house every time, kicking the energy level up
with the actors and audience. It's that electricity
that makes me love musical theater.

-- Tom Orr, "Taxi Black"

Opening Night for a "Lady"

2007-12-04T16:41:00.000-08:00

Office Manager Annette Lai has provided some pictures from the Opening Night reception for Oh, Lady! Lady!! on Nov. 24th. This is most of the company outside the Eureka Theatre.

And here is dynamic director Kalon Thibodeaux with dashingly dapper choreographer Tom Segal

Leading Man Michael Cassidy with some "old-timers."

Costumer Louise Jarmilowicz with Kalon

Annette Lai with "Mr. B. Russel Sprout," Tyler Kent

Remembering Betty Kern Miller

2007-11-29T00:26:00.001-08:00

Mike's post about the Kern lawsuit reminded me of Betty Kern Miller -- Jerome Kern's daughter whose relationship with her attorney Andrew Boose is disputed by her daughter. Mrs. Miller was a generous and enthusiastic supporter in the early days of 42nd Street Moon.

I first "met" Betty -- over the phone -- in 1989. I was producing a CD of early Jerome Kern songs called -- what else? -- Early Kern, and I had been planning to use a photo of the great composer as a baby on the album cover, which I thought was a cute idea. I can't remember through whom, but somehow I acquired Betty Kern's phone number and gave her a call at her horse ranch in Kentucky (horses were her big passion).

I explained my idea to her and she promptly told me it sounded kind of stupid to her, and suggested instead that she send me a photo of her father as a young man. That's how I got a previously unpublished photograph of Jerome Kern on my album cover.

In 1993, when Stephanie and I were starting 42nd Street Moon, we very much wanted to present some of the early Kern musicals -- Oh, Lady! Lady!! and Sweet Adeline, specifically. We weren't having much luck getting the rights. I called Betty Kern and she said "Let me make a phone call or two." The next day we found out we were approved, and because she vouched for us, the "vaults were opened," so to speak, and we began to get access to many shows that had been gathering dust on licensing agency shelves.

The last time I spoke to her was probably late 1995 when we were presenting the American premiere of Kern & Hammerstein's London show Three Sisters. She was quite frail at that point, but still feisty (on the phone, at least), and regretted that she would not be able to come out for the show. She died the following spring.

Kern Granddaughter Sues Guide Dogs for the Blind

2007-11-24T18:58:00.000-08:00

Matthew Guerrieri is a "composer, pianist, and conductor" who writes an extraordinarily entertaining blog about mostly classical music in Boston, besides writing professional reviews for the local "Boston Globe." A couple of days ago, he wrote about the insane legal wranglings being brought by a few of the legal heirs to Jerome Kern, composer of the currently running 42nd Street Moon show, "Oh, Lady! Lady!!" Click here to check it out. Guerrieri's final thought is worth repeating:

"I will remind everyone that Jerome Kern died in 1945; the fact that people are still hiring attorneys to tangle over his royalties 60-plus years later tells you something about the strange state of our current intellectual property regime. And some of those royalties are apparently earmarked as charitable bequests, as Cummings [one of Kern's granddaughters] is also suing the Guide Dog Foundation for the Blind."

Agnes de Mille and "One Touch of Venus"

2007-11-14T16:41:00.000-08:00

The choreographer Agnes de Mille is one of the most important American cultural figures of the 20th century, but she seems to be fading from historical memory except as the originator of the ambitious ballets for "Oklahoma," which were mostly preserved in the movie version.

She was born in 1905, granddaughter to the famous economic philosopher Henry George on her mother's side, and niece to the infamous film producer/director Cecil B. Demille on her father's side. She decided she wanted to be an actress, and then a dancer, but she wasn't conventionally pretty enough for either, and so she made her own way on her own terms. Before becoming an "overnight success" in the early 1940s with her ballet "Rodeo" for the touring Ballet Russe, quickly followed by her startling choreography for "Oklahoma" and "One Touch of Venus," she was a starving artist for decades. In New York, she became best friends with Martha Graham, where the two of them basically created what we think of as American Modern Dance. In the 1930s, she took a five-year sabbatical to London where she was collaborator and best friends with the great British choreographer Anthony Tudor when he was a starving artist.

In addition to her choreographic gifts, Agnes turned out to be an exquisite writer, and her memoir of her Starving Artist years, entitled "Dance to the Piper," (click here to order a copy) is one of the greatest artistic memoirs ever written, with prose that reads as smoothly as the incomparable food writer M.F.K. Fisher, who was a contemporary.

The memoir's sequel, "And Promenade Home," published in 1958, is not quite as successful, being a strange combination of stories of artistic triumphs/disasters and her neurotic romance which turns into a World War II separated marriage with Walter Prude, who remained her husband until his death in 1988. The great sequence in the book, however, is a surprisingly frank 50-page backstage chronicle of the making of "One Touch of Venus," which was a series of outrageous disasters from the very beginning until it squeaked out as a Broadway triumph in the end.

Here's her description of Mary Martin arriving for the first day of rehearsal surrounded by the professional ballet dancers who Agnes had cast rather than the usual young boyfriends and girlfriends who usually ended up in the chorus:

"I'm not very good at this," Miss Martin said to me simply as she put on her beautiful costly hat before leaving that first day. "I'm going to need lots of help."

Sono Osato [the star dancer, half Irish/half Japanese sensation from the Ballet Russe] later spoke crisply to me over a chocolate malted. "I've made a decision. I'm going to be a gentleman...I'm going to fix it so that she looks better than all of us. Do you think she'd mind if I coached her a little?"

I gazed at Osato with something close to awe. She had spent her teens with the Ballet Russe de Monte Carlo...and had learned theater entirely with the Russian dancers, whose second technique is chicanery. They expect nothing else and they give nothing else. From the outright criminal compassing of planned accidents (broken glass and slashed slipper ribbons) to constant ungrounded suspicion, they never, under any circumstances, practice anything but deviousness...Somo, however, was gallant and, as she said, a gentleman. So she approached Mary Martin and the coaching began very gently and unobtrusively.

"Why do you stand like that, with your knees all slack and your chest caved in?"

"They told me to in Hollywood," said our star meekly.

"Never mind Hollywood. This is Olympus. My goodness," Sono said, "you've got a fine body. Be proud of it. Throw out your chest - and here, tuck your tail in. Stand on your feet. Put your heels down and stand hard. Be proud."

"I wish I could move the way you do," said Mary.

"You're going to move like yourself," said Osato, "and it will be dandy. But you've got to have confidence."

And thereafter every day I could see, from the corner of my eye, Sono take her quietly aside to work out their problems. Mary straightened, Mary walked and stood like a deity, and it didn't take her very long to learn. She did, as Sono had promised, dandy. Mary has never scorned coaching since.

There's fifty pages of this kind of writing about the disastrous Boston tryouts that are an intimate, fascinating look at the truly bizarre collection of disparate geniuses that were brought together by the producer Cheryl Crawford for this project. There are accounts of librettist Ogden Nash (Broadway debut), director Elia Kazan above whose Group Theatre style was completely at odds with the material, three crazy costume designers including the couturier Mainbocher, book writer S.J. Perelman, and the great composer Kurt Weill.

Just before her death in 1993, de Mille published a 500-page biography of her great friend and colleague Martha Graham that's one of the best artist's biographies ever written. If you ever see it at the library or a used bookstore, I can't recommend it highly enough.

More VENUS Opening Night Shots

2007-11-13T14:43:00.000-08:00

More shots from the opening night reception of our 15th Anniversary Season opener, One Touch of Venus.

The Blog is Back

2007-11-09T00:49:00.000-08:00

Welcome to the return of the Blog -- the 42nd Street Moon Blog, that is. We had a good year from 2005 to summer 2006 and then disappeared for a very long hiatus. We've now begun our 15th anniversary season, however, and it seemed like the time was ripe to return. Fifteen seasons is something to celebrate, and blogging is one way to keep the celebration going all year long.

My name is Greg MacKellan -- I am (along with Stephanie Rhoads) the Founding Artistic Director of 42nd Street Moon. I'll be checking in here as often as possible to discuss Moon and musicals, and will be joined by Annette Lai (our intrepid Office Manager) and "sfmike," a very special "friend of Moon."

As I write this, we are in the middle of the final week of performances for ONE TOUCH OF VENUS the first show of our season (and, if I might add, one of the most successful we've ever done). Here are a few visual mementos of the VENUS experience -- starting with some candids from the opening night reception.