Read Online B00AZRHQKA EBOK by Garson Kanin - Free Book Online Page B
Authors: Garson Kanin
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The Lyceum (2 years), Manager (4 years), and afterward got my first show: SCRAMBLED WIVES. I have worked in every state of the union with the exception of North Carolina (odd!). I have known the best and the worst. I have been associated with Minnie Maddern Fiske, Winthrop Ames, Winchell Smith, John Golden, Lee Shubert, Florenz Ziegfeld, Max Gordon, and many others. I was on two shows with Nora Bayes (ever hear of her?), SNAPSHOTS OF 1921 and a revival of LITTLE MISS FIX-IT.
War is, by and large, more peaceful than the theatre.
What I observe mainly after all these years is how everything that happens has happened before, in one form or another. There are few surprises.
I have seen this show before (in a way) and I have seen all of you before, and if I live long enough, I will most assuredly see you all again.
SPECIALTIES : We would very much like to know about any special talents in the company. If you can play a musical instrument, speak a foreign language, whistle, ride a unicycle, stand on your head, or imitate four Hawaiians, please convey this intelligence as soon as possible to Clay Botsford. This is a Show Business show, and we can probably use everything if we know about it in time.
QUOTE TO REMEMBER :
George M. Cohan to Spencer Tracy:
“Whatever you do, kid, always serve it with a little dressing.”
There are now 32 rehearsal days until our opening night in Boston.
6
Production meeting. Present: Larry, Art Clune, Hy, Fred, Phil, Chris, Russ, Buddy, Ivan and his young wife-assistant Nadia, Clay, Jenny, Val, Nick, Stu, Alicia, Aki, and Millie. Absent: Paul Cooley and Cindy Sapiro. Larry is talking.
“I know that some of you—maybe even many of you—feel these sessions are a waste of your time. Obviously, I don’t agree. But we’re going to have a lot of them, so I advise you all to get used to them and what’s more, to use them.
“As you all know, I am a democrat—both small and big D—except when I do a show. Then I become a Dictator—both small and big D. By that I mean only this: I’m going to make the final decisions on each and every one of the thousand questions a day that come up.
“I’m trying to be—as you can see—a benevolent dictator. No, listen. No kidding. Let me see if I can make it plain. I want—no, I need —everything every one of you has to contribute. I want everyone’s ideas and, yes, even criticisms. What I’m saying is that after we’ve all had our say, one person has to make the decision and that’s that. I’m talking, needless to say, about artistic and creative matters. Anything to do with business, budget, money, bookings, advertising, PR, and the like is not my concern—nor should it be yours. I’m sure in such esoteric areas, we’re all willing to defer to Our Leader, Art Clune.”
Art applauds loudly—he is the only one—and shouts, “Hear! Hear!”
Larry again. “Would anyone here seriously propose that the artistic and creative decisions with respect to our show should be made by committee? By majority rule?”
A LICIA : It’s been done.
L ARRY : Where? When?
A LICIA : When I worked with Joan Littlewood—in the East End.
L ARRY : You don’t say.
A LICIA : The whole company had a say.
L ARRY : Well, all I can say is—if you don’t like this country, why don’t you go back where you came from?
(Laughter)
A LICIA : Thanks awfully, but no.
L ARRY : Now, look, everybody. I ask you to keep one principle in mind and that is that we’re all on the same side, right? The important thing to remember is that we’re all doing one show. We don’t have the dreamy advantage of being a permanent company—like the National in England, or the Comédie Française or the Royal in Stockholm. We’re a pick-up band. A scrub team. But if we all blend and co-operate and help one another—we can top even those established establishments. Because, department by department, our individual talents are probably greater.
A RT : For what it’s costing
War is, by and large, more peaceful than the theatre.
What I observe mainly after all these years is how everything that happens has happened before, in one form or another. There are few surprises.
I have seen this show before (in a way) and I have seen all of you before, and if I live long enough, I will most assuredly see you all again.
SPECIALTIES : We would very much like to know about any special talents in the company. If you can play a musical instrument, speak a foreign language, whistle, ride a unicycle, stand on your head, or imitate four Hawaiians, please convey this intelligence as soon as possible to Clay Botsford. This is a Show Business show, and we can probably use everything if we know about it in time.
QUOTE TO REMEMBER :
George M. Cohan to Spencer Tracy:
“Whatever you do, kid, always serve it with a little dressing.”
There are now 32 rehearsal days until our opening night in Boston.
6
Production meeting. Present: Larry, Art Clune, Hy, Fred, Phil, Chris, Russ, Buddy, Ivan and his young wife-assistant Nadia, Clay, Jenny, Val, Nick, Stu, Alicia, Aki, and Millie. Absent: Paul Cooley and Cindy Sapiro. Larry is talking.
“I know that some of you—maybe even many of you—feel these sessions are a waste of your time. Obviously, I don’t agree. But we’re going to have a lot of them, so I advise you all to get used to them and what’s more, to use them.
“As you all know, I am a democrat—both small and big D—except when I do a show. Then I become a Dictator—both small and big D. By that I mean only this: I’m going to make the final decisions on each and every one of the thousand questions a day that come up.
“I’m trying to be—as you can see—a benevolent dictator. No, listen. No kidding. Let me see if I can make it plain. I want—no, I need —everything every one of you has to contribute. I want everyone’s ideas and, yes, even criticisms. What I’m saying is that after we’ve all had our say, one person has to make the decision and that’s that. I’m talking, needless to say, about artistic and creative matters. Anything to do with business, budget, money, bookings, advertising, PR, and the like is not my concern—nor should it be yours. I’m sure in such esoteric areas, we’re all willing to defer to Our Leader, Art Clune.”
Art applauds loudly—he is the only one—and shouts, “Hear! Hear!”
Larry again. “Would anyone here seriously propose that the artistic and creative decisions with respect to our show should be made by committee? By majority rule?”
A LICIA : It’s been done.
L ARRY : Where? When?
A LICIA : When I worked with Joan Littlewood—in the East End.
L ARRY : You don’t say.
A LICIA : The whole company had a say.
L ARRY : Well, all I can say is—if you don’t like this country, why don’t you go back where you came from?
(Laughter)
A LICIA : Thanks awfully, but no.
L ARRY : Now, look, everybody. I ask you to keep one principle in mind and that is that we’re all on the same side, right? The important thing to remember is that we’re all doing one show. We don’t have the dreamy advantage of being a permanent company—like the National in England, or the Comédie Française or the Royal in Stockholm. We’re a pick-up band. A scrub team. But if we all blend and co-operate and help one another—we can top even those established establishments. Because, department by department, our individual talents are probably greater.
A RT : For what it’s costing
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