B00AZRHQKA EBOK (9 page)

A
RT
: God, I
hope
so!

L
ARRY
: Guy goes out—no, is
thrown
out. Jack and Nora. Scene. Then he sings “I’m Here.” Scene. She sings “You’re Here.” Safe—but when the curtain falls, it has on it a front-page blow-up of a scandal sheet:

“FROM BROTHEL TO BROADWAY”

The Story of Nora Bayes

A
RT
: Bordello.

L
ARRY
: No, Art. This time brothel.

A
RT
: Why?

L
ARRY
: Jesus
Christ
! If you can’t
see
it I can’t
explain
it! Brothel, Broadway, Bordello, Broadway. Clear?

A
RT
: No.

L
ARRY
: Oh, God. Thank you, ladies and gentlemen. That will be all for today.

The meeting is over.

SHINE ON, HARVEST MOON

Company Bulletin

Friday, September 14

RUNNING ORDER
: At tomorrow’s run through, “Overnight Ride” will follow “Where Am I Going?”

SCRIPT
: The script is still being retyped, and will be distributed to all concerned as soon as possible. Let us all remember that the script of SHINE ON is confidential and should be read only by the cast. No one outside the show should have access to any of the material, i.e., jokes, lyrics, music, etc.

PHOTOGRAPHER
: Paul Cooley of our Press Department has announced that photographer Peter Simon has been engaged to cover SHINE ON from start to finish. Mr. Simon will work quietly and unobtrusively under our control and direction. All photographs taken by Mr. Simon are subject to approval before release.

JENNY FLAGG
: Miss Flagg was interviewed today by Corry of the
Times
regarding the Everleigh Girls and Nora Bayes’s vaudeville days. His article will appear (we hope) on Friday, December 21.

CAST ADDITION
: Stephanie Caylon is our charming swing girl.

THE COMPANY YOU KEEP: SAMMY SMITH
(Charley)

I was born when I was very young—in a little log cabin that I helped my father to build…The place was a small town called Shlabotka near Kovno in Lithuania. The exact date was exactly two years before my younger brother and three years after my older sister. (What the
HEY
!) I was brought to America by my parents at the age of five. I don’t
know
how old
I
was…(I never had a father, I had two mothers.) The first show I ever saw was Fred Stone in THE WIZARD OF OZ, Montgomery and Stone. From that day to this all I care about in life is being on the stage. Wrong. Being
good
on the stage…I have been in burlesque, carny shows, musicals, legit, radio, TV, industrial shows, and all kinds of movies (except porno, I couldn’t pass the physical!), and I will tell you what I have found out. They are all the same. You have to connect with the audience and sell them a bill of goods…Al Jolson was the best entertainer I ever saw…The best actor—John Barrymore (stage), Spencer Tracy (movie). Actress—Laurette Taylor (stage), Greta Garbo (movie). I weigh 142 lbs. (stripped), am 5’5” (stripped), brown hair (stripped), blue eyes (stripped), and am considered quite the ladies’ man (stripped)…I would like to die on the stage. In fact, I
have
several times…I am glad to be in this great show…And that is how I spent my summer.

Sammy Smith

Age 12

REMINDER
: I would appreciate it greatly if
every
member of the company would prepare for publication in the Bulletin a short autobiographical note. 100-200 words. We want to know you. Hand in to Midge. Be candid, frank, revealing—or mysterious.        L.G.

HOTEL RESERVATIONS
: Will everyone in the company please sign the hotel reservation list on the bulletin board by the close of rehearsal on Tuesday, September 18.

QUOTE FOR TODAY
:

“Whatever the endeavor, make of it a lollapalooza.”

Michael (“Hinky Dink”) Kenna, circa 1909

TRAVEL
: The entire company will leave for Boston on the morning of Sunday, October 14. The time will be announced.

ADDITIONS TO THE COMPANY
: Maurice Summerfield will be our wardrobe master, and Bonnie Green has been engaged as our Star’s maid.

Sharon Vaughn has joined our company as one of the Everleigh Girls, and Yvonne Reynolds becomes an additional member of our singing group.

There are now 28 rehearsal days until our opening night in Boston.

7

Larry talks to the whole company this afternoon. They sit around on the stage, in chairs, or on the floor. Some of them, mostly the dancers, are lying down. Two or three snooze, but Larry doesn’t seem to mind.

Larry says: “Ladies and gentlemen, I want to talk to you today about
moments
. One of the reasons for this is that we’re in the
business
of moments. We’re charged with the responsibility of creating a
series
of moments. Funny moments, thrilling moments; if we’re lucky and work hard, perhaps even two or three unforgettable moments.

“The fact is that we—all of us—remember moments. If I mention a show to you, say
A Chorus Line
, or
Ain’t Misbehavin’
, you conjure up instantly in your mind a few moments from those shows. No one remembers a whole show. But you do recall moments in the same way that you recall the great or the sad or the marvelous or the important moments in your life.

“If a show has in it six or seven great moments, you can be sure it’s a great show. The hard part is that sometimes it takes an hour to create one moment. Still, it’s worth it.

“Sometimes we manufacture the moment externally. Very often the moments happen unexpectedly, spontaneously, magically. Those, I suppose, are the best ones. A look, a gesture, a move, a note, anything. What I’m asking all of you to do is to become conscious of this responsibility. Consider the scenes you’re in, the numbers you perform, the character you play, and, each of you, try to discover the hidden spark that has at least the
potential
for the creation of a memorable moment.

“I’ll be on the lookout, too, and when we find even the germ of one, let’s get to work on it and try to frame it, to present it, to perfect it, so that it becomes, indeed, unforgettable.

“Thanks…Scene Four, Act One, please. From the top.”

8

Production Meeting. Same as previous one with the exception of Jenny—who had to be at her dance rehearsal today.

L
ARRY
: I think we’re coming along. At about this time it’s par for the course to start having misgivings and doubts and fears about the whole damn thing. I’m sure every one of you has had a moment or two when you’ve said to yourself, How’d I get roped into
this
turkey?

A
RT
: Not me, boy. I
know
it’s a great show.

L
ARRY
: It isn’t
any
kind of show
yet
, Art. We’re all hoping it’s
going
to be.

A
RT
: It’s a great show. I’m holding it right here in my hand. So don’t tell
me
!

L
ARRY
: What you’re holding in your hand, Art, is a script. Not a show. And a score. Not a show. What you’re holding in your hand is a set of instructions for the acting out of a story—with numbers. The show, the one to come, is going to happen one of these days right here on this stage—if we follow the directions. It’s like having the blueprints and specifications in your hand for building a house. The difference is that you can’t move into the blueprints. Correction. When I said awhile back that the show happens here on this stage—not quite. It actually happens only in the mind of the audience. We supply the material that stimulates their imagination. That’s why—at all times—everyone—we have to remember the audience—pretend every seat in the house is filled every time we’re at work. Simple things. They have to be able to see. They have to be able to hear—and not only hear—but to understand. We’re going to respect the audience. One by one, they may not be the best and the brightest—but believe me—as a group they are terrifyingly brilliant and sensitive and intelligent. “An idiot genius,” Moss Hart used to say. There’s no light so powerful—not even if Millie got every piece of equipment in town—as the light shed by three thousand eyes all focused on one stage or on one spot on one stage. That’s why I’ve always thought actors and actresses the bravest people on earth—they stand there and deliver—even when they’re a pain which they often are… Now. What I’d like to do today is outline the rest of the show overall. Last time we got together I gave you a sketch of a sketch of Act One. You’ll recall it ended with the front-page-headline drop. I’m not sure yet if we’re going to go to black on that and bring in the house curtain or if we’re going to leave it there for the whole intermission.

A
RT
: Leave it there. It’s costing a fortune.

C
HRIS
: The only thing is—won’t it get boring? I mean what can you look at for fifteen minutes without it getting boring?

A
RT
: Liz Taylor’s tits.

(Laughter)

L
ARRY
: Is there any way, Ivan, to do a
whole
front page that would be readable from every seat and—

I
VAN
: With a projection, maybe. Not paint.

L
ARRY
: Well, how
about
that? Hey, this could be pretty good!

A
RT
: Projection. Doesn’t that mean another guy up there to run it?

C
LAY
: No—between the two follow-spot men—one can handle it.

R
USS
: Or put it on automatic—from the balcony rail—then all Clay has to do is push a button.

C
LAY
: That’s good, Russ. You’re right. That could work.

A
RT
: Very good, Russ. Remind me to give you a raise. Someday.

L
ARRY
: If we decide to leave it and if we want it readable.

C
HRIS
: That’ll take a little research—but it could be good maybe—for period feel and atmosphere. Like if it was the whole front page and there were seven or eight stories: political, social, sports, crime, personalities—you
know
?

L
ARRY
: O.K. Let’s all give it some thought and—as you say, Chris—research, and decide later.

I
VAN
: Meantime—I should put a hold on the drop, no?

A
RT
: Yes! Absolutely.

L
ARRY
: All right. Now. Act Two. We open with an innovation. A scene instead of a number. Let’s pray it works. Otherwise we’ve got a number more or less ready, haven’t we?

H
Y
: More.

F
RED
: Less.

L
ARRY
: I hope we can do without it—I like the surprise of opening with a scene. It makes the story stronger.

H
Y
: Never in a million years, boy. An Act Two has
got
to start with a number.

L
ARRY
: I don’t like rule books for the theatre. Guy once said, “In the theatre, there ain’t no never and there ain’t no always.” Anyway. We’ll see. Either way, Act Two—Scene One is The Everleigh Club.
If
it’s a scene—it’s the Everleigh Sisters alone—later the girls. The standby scene is the number from the girls—“Poor Nora”—then the sisters’ scene. Now in comes Jack. He needs their help. Has anyone been around snooping? No. Not yet. What if they do? The Everleighs say, “Leave it to us.” “What about the girls? Can we count on them?” “Well…” “What well?” “All but one—Ginny. She’s always had it in for Nora.” “Let me talk to her.” Ginny-Jack scene. He buys her off—but we somehow feel she can’t be trusted. It’s a tough scene.

C
HRIS
: Too tough for this poor kid we’re letting out. Have you got a replacement yet?

L
ARRY
: I don’t think so. Have we, Clay?

C
LAY
: Not definitely.

C
HRIS
: The point I want to make is—I hope you get a sweet, innocent-looking adorable type. I mean not a heavy.

A
RT
: No, no. The audience has to hate her right away—

L
ARRY
: Hold it, Art. Let him finish.

C
HRIS
: Seems to me offbeat casting would be better here. Less obvious. After all, in real life—the bastards are sometimes very attractive—

A
RT
: What’re you lookin’ at
me
for?

(Laughter)

L
ARRY
: I like that, Chris. I like it a lot. Who’ve we got, Clay?

C
LAY
: With
this
concept—nobody. We were looking for a tough bimbo.

L
ARRY
: O.K. Talk to Howie and give him this new idea and see if—

A
RT
: (
Reading from the script
) “Ginny comes in. She is tall and powerful, tough and hard. One of the older, more experienced girls. She looks at Jack with hostility.” (
He puts down the script
) I rest my case.

C
HRIS
: (
Irritated
) All right, Art. I know that. Jesus, I
wrote
that. So I’ve changed my mind. What’s wrong with that?

A
RT
: I believe usually the first idea is the best idea. I’ve seen more pictures fucked up because everybody started changing their mind and trying this and trying that. Just because you change something doesn’t mean it’s better. Maybe it’s worse.

L
ARRY
: Well, we disagree again. A show in this stage in an infant. And we’re supposed to nourish it so it can develop and grow. I don’t mean that if it’s a boy we should try to make it into a girl. But of course we ought to be able to change our minds about detail.

F
RED
: They used to say, Shows aren’t written, they’re rewritten.

A
RT
: Bullshit!

C
HRIS
: If it’s bullshit, how come you’re on my back all the time for rewrites?

A
RT
: Because too much of your stuff is lousy, that’s why. And your contract says. And if you think I’m on your back, my boy—I’ve got a solution for you.

C
HRIS
: Yes?

A
RT
: Yes! Take your back somewhere else. One thing in mind, O.K.? You didn’t
write
this show. You
adapted
it. You’re a hired hand, so don’t act like you’re a Tennessee Williams.

L
ARRY
: That’s enough of that. Let’s not start biting on each other this early in the game. If we do, there’ll be nothing left for Boston and Philadelphia.

A
RT
: Sorry, Chris, I got hot.

C
HRIS
: Nothing.

L
ARRY
: Last show, a big name actor who shall be nameless says to me, “Do you realize the direction you just gave me is absolutely the opposite of what you gave me yesterday?” “Yes,” I said, “I do. And I’ve got some advice for you. Every night when you’re kneeling by your bedside in your little jammies saying your prayers—and you’ve thanked the Lord for giving you this marvelous part in this wonderful show and you’ve said '—and God bless Mommy and Daddy and make me a good boy’—add: 'And thank You, God, for giving me a director who changes his mind and not one of those stubborn sonsofbitches who gets one idea in his head and sticks to it no matter what.’”

(Laughter)

H
Y
: We had a number last year—it was in five different scenes—sung by four different characters until we found the right person and the right spot.

L
ARRY
: Scene Two. Nora’s room. Alone. She’s dressing. Number: “Was It Wrong?” Now, with all due respect to the number—a beaut—the scene is really yours, Alicia.

A
LICIA
:
Oh
, dear.
What
a burden.

L
ARRY
: It’s a kind of period striptease in reverse. I want it daring and brazen and sexy as hell… How far can we go, do you think for a start? If I had
my
way, I’d bring her out of the bathroom naked.

A
LICIA
: I say, steady! You can’t mean absolutely starkers, can you?

L
ARRY
: I’m telling you what I think would be
perfect
. Then we’ll get as near to it as we can in a practical way.

R
USS
: Even if you could, would She do it?

C
LAY
: If She thought it would get a hand, She would. Or a laugh.

A
RT
: Or if I gave her a hundred a week more.

L
ARRY
: Hold it, men…Let’s say She’s wearing as little as possible for a start. Then, as She sings, “Was It Wrong?” she dresses.

H
Y
:
Great
for the song, of course. That beautiful ballad competing with her bare ass. Place your bets, gentleman.

L
ARRY
: Hy, if we do it, right—it’ll
enhance
the song.

H
Y
: Oh, sure.

L
ARRY
: I’ll give you a whole second chorus after She’s completely dressed.

H
Y
: You will?

L
ARRY
: In a spot. In one.

H
Y
: Deal.

L
ARRY
: But we ought to have a new set of lyrics for the second chorus.

F
RED
: Oh, thanks a bunch!

H
Y
: You know what, Freddie? Hold
this
lyric for the second chorus—and write some filler for the undie scene.

A
LICIA
: I think I may have something, Larry. Look here. (
She starts to sketch.
L
ARRY
and
R
USS
and
A
RT
move around and stand behind her, watching.
H
Y
leans over to see, too)
It stems from your bath idea.

A
KI
: I got some great splashing if you want—on tape.

A
LICIA
: Good. And suppose She
does
come out, drying herself with an enormous—well, at least outsized towel—

R
USS
: Did you have them in those days?

L
ARRY
: Of course. Shut up.

A
LICIA
: And She moves about the room…

R
USS
: Dripping would be good.

A
RT
: What?

R
USS
: So everybody would know She’s been in the bath.

A
RT
: Why the hell else would She be drying herself, you pinhead?

R
USS
: It’ll look stagey if She doesn’t drip.

A
RT
: All right, so she’ll drip, you drip!

A
LICIA
: And here is where we’ll need massive assistance from Jenny—and especially you, Ivan.

I
VAN
: Sure. I see. You need all kinds of masking.

A
LICIA
: Right. Now, once She has her underclothes on—we’re safe.

L
ARRY
: And what are those underclothes, exactly?

A
LICIA
: Corset, camisole, garter belt.