Charlotte Cushman is, to date, the only actress ever elected to the Hall of Fame for Great Americans. Like many female stars of the American stage, she was a lesbian.
Who was Ms. Cushman? She was born in Boston, Mass., July 23, 1816, an eighth generation descendant of Robert Cushman a Puritan who helped organize the Mayflower voyage and emigrated to the future United States in 1621. Her father was a successful businessman who began to fall on hard times and died when Charlotte was thirteen. She possessed an impressive contralto voice and was trained for the opera, making her debut as Countess Almaviva in Mozart's The Marriage of Figaro; her singing voice failed after she was forced to essay a number of soprano roles. Cushman switched to the dramatic stage, making her debut at the Tremont Theatre in Boston, April 8,1835. One of her most notable successes came as Romeo, with her younger sister, Susan, playing Juliet. Shylock and Cardinal Wolsey were among the other male parts that Charlotte played most notably.
She made her New York debut in Macbeth in 1836, but spent the next eight years with various stock companies. Charlotte toured the U.S. with star William Macready in 1845 and made her London debut in classic repertory in 1854. Her best roles were considered to be Lady Macbeth and Meg Merrilies in a dramatization of Scott's Guy Mannering.
Charlotte did not try to hide her homosexuality, and had a number of lesbian lovers. Among them were Rosalie Sully, Matilda Hays, Harriet Hosmer, Emma Stebbins, and Emma Crow She made her final stage appearance at Boston's Globe Theatre, May 15, 1875, and died of pneumonia, aged fifty-nine, February 18, 1876.
#americantheatrenetwork
Sunday, October 29, 2017
Saturday, October 28, 2017
LESBIANS, PETER PAN, AND OTHER LEADING WOMEN
Lesbians and bi-sexual women have been an important part of the American theatre for well over a hundred years. Chief among them is Maude Adams--nothing to do with Maud Adams, the screen actress best remembered for her roles in the James Bond pictures, Octopussy and The Man With the Golden Gun.
Maude Adams may be the most popular and greatest actress in the history of the American stage. Born in Salt Lake City, she became one-third of the great theatrical team of Charles Frohman (producer), James M. Barrie (playwright), and Maude Adams (star). She became, in fact, the world's foremost interpreter of James M. Barrie's works, including The Little Minister, What Every Woman Knows, and Peter Pan, Barrie's most successful play and one of the most popular vehicles for women ever written--despite (or partially because) of the fact that Peter Pan, the lead role, is a boy. Barrie, indeed, created the role to be played by a woman.
And it ever has. The role was first played in London in 1904 by Nina Boucicault, niece of Dion Boucicault, one of the theatre's most respected writers and directors for many years. It was a foregone conclusion that Maude Adams would play The Boy Who Never Grew Up when the the piece was first produced in the U.S. the following year. She did, and the continued popularity of Maude Adams as Peter Pan practically forced her to periodically revive the play over the next ten years.
There is a particular charm in Peter Pan that precludes the title role from ever being played by a boy or man. The Walt Disney animated Peter Pan is doubtless the most masculine Peter ever presented. The Disney film was successful in its way. It has not, however, been nearly as popular as the productions in which women have played Peter--ranging from Jean Arthur to Marilyn Miller to Eva Le Gallienne to Mary Martin, star of the musical production which has supplanted the original stage play as one of the most popular stage vehicles of all-time--performed by Sandy Duncan, Cathy Rigby, and other actresses who have managed the fey quality demanded by the role.
Le Gallienne (like Maude Adams, a lesbian), started her own acting school for girls and ran it quite successfully for many years. As an actress, she excelled in plays like Not So Long Ago, Liliom (the play upon which the Rodgers and Hammerstein's musical, Carousel, was based), The Swan, and others. (It was said that Joseph Schildkraut, who played opposite her in Liliom, flushed with the success of that play, asked Le Gallienne to marry him and that she declined, saying "Mr. Schildkraut, I would love to. But I'm a lesbian.") She founded and ran the Civic Repertory Theatre on Fourteenth Street in New York from 1916 to 1933. Among her company ere J. Edward Bromberg, Paul Leyssac, Florida Friebus, and Leona Roberts. (Friebus is remembered as the mother, Winnie, on The Many Loves of Dobie Gillis), a comedy on TV from 1959 to 1963).
Jean Arthur, best remembered for her roles in Frank Capra movies of the 1930s, had considerable success when she played Peter Pan for 321 performances on Broadway in 1950. Called "boyish and engaging," she was aided by the newly composed music on Leonard Bernstein. This was the last major revival of the play before Mary Martin starred in a Broadway musical version of Peter Pan in 1956.
The musical version of Peter Pan has entirely supplanted the straight play version that preceded it in London, New York, and (thanks to touring) numerous other cities. The music was by Mark Charlap (the original California production) and Jule Styne (brought in for more songs prior to the opening on Broadway). The title, Peter Pan, was retained, and Miss Martin's own performance, coupled with the score (and, of course, the play itself) allowed the show to run for nineteen weeks at New York's Winter Garden beginning October 20, 1954)--certainly not a long run by twenty-first century standards. It proved more popular on TV, and the second annual presentation was filmed for posterity; it was annually shown years. The musical was later revived on Broadway starring Sandy Duncan and then Cathy Rigby.
It would be interesting to see another revival of Peter Pan on Broadway. Would it thrill a new audience comprised mostly of tourists, or is it, like so many other works of quality, now "dated"? As for James M. Barrie's other plays . . . One might well imagine Emily Watson (whose performance in the film, Breaking the Waves, is one of the best in the entire history of film, rivaled perhaps only by that of Joanne Woodward in The Three Faces of Eve) in the lead role of What Every Woman Knows. Who knows, indeed?
#americantheatrenetwork
Jean Arthur, best remembered for her roles in Frank Capra movies of the 1930s, had considerable success when she played Peter Pan for 321 performances on Broadway in 1950. Called "boyish and engaging," she was aided by the newly composed music on Leonard Bernstein. This was the last major revival of the play before Mary Martin starred in a Broadway musical version of Peter Pan in 1956.
The musical version of Peter Pan has entirely supplanted the straight play version that preceded it in London, New York, and (thanks to touring) numerous other cities. The music was by Mark Charlap (the original California production) and Jule Styne (brought in for more songs prior to the opening on Broadway). The title, Peter Pan, was retained, and Miss Martin's own performance, coupled with the score (and, of course, the play itself) allowed the show to run for nineteen weeks at New York's Winter Garden beginning October 20, 1954)--certainly not a long run by twenty-first century standards. It proved more popular on TV, and the second annual presentation was filmed for posterity; it was annually shown years. The musical was later revived on Broadway starring Sandy Duncan and then Cathy Rigby.
It would be interesting to see another revival of Peter Pan on Broadway. Would it thrill a new audience comprised mostly of tourists, or is it, like so many other works of quality, now "dated"? As for James M. Barrie's other plays . . . One might well imagine Emily Watson (whose performance in the film, Breaking the Waves, is one of the best in the entire history of film, rivaled perhaps only by that of Joanne Woodward in The Three Faces of Eve) in the lead role of What Every Woman Knows. Who knows, indeed?
#americantheatrenetwork
Wednesday, October 25, 2017
SEX AND WOMEN IN THE THEATRE
George Bernard Shaw once wrote: "An actress is more than a woman, and an actor is less than a man."
Women have been a part of the theatre for centuries. This was not always the case in many countries. Japan did not allow women in Kabuki or No theatre. Nor were there any actresses back in the days of William Shakespeare. It may be difficult to picture Juliet played by a boy of twelve or so, but that was very much the case in the late sixteenth century.
Actresses have been part of western theatre since Great Britain's restoration of the Stuart monarchy in 1660. They have been exploited, used, abused, promoted and demoted. Some of these women were strong people; others were not. Many were charming and/or charismatic. Sex has been, with rare exception, part of their professional lives.
Eleanor (Nell) Gwyn, "Sweet Nell of Old Drury," was the antidote to puritanism in the 1670s. She was the mistress of, successively, the actor Charles Hart, Lord Buckhurst, and King Charles II. She was known for her wit, charm, physical beauty, singing and dancing; she had a flair for comedy, and was arguably the world's first great stage comedienne. She bore King Charles two sons and died, aged 37, in November, 1687.
Florenz Ziegfeld, Jr., creator of the Ziegfeld Follies, was known for "Glorifying the American Girl." He did more than glorify them. His first marriage, to French star Anna Held, was a common law marriage. The love of his life was Lillian Lorraine, a show girl who graced several editions of the Follies. Lillian was beautiful but irresponsible and often senseless. She married playboy Frederick M. Gresheimer (whom she stole away from Fanny Brice) in March 1912, divorced him after a few months, remarried him in 1913, and then had this, their second marriage, annulled, claiming he had "misrepresented himself." Ziegfeld's wife, Billie Burke, once said that she was jealous of Lillian, but not Marilyn Miller, arguably her husband's greatest star. Ziegfeld, said Billie, idolized Marilyn Miller; but he loved Lillian Lorraine.
Marilyn Miller, in fact, hated Ziegfeld. Why? She and her boyfriend, Frank Carter, were both in the Follies of 1919. When the show was in rehearsals, she and Frank eloped and married. Ziegfeld was furious when he received the news and promptly fired Carter. Marilyn and Frank talked things over, and decided it was best that she stay in the Follies. Carter got a part in a titled See-Saw, produced by Henry W. Savage. When See-Saw closed in Wheeling, W. Va., at the end of the season, Frank called Marilyn and told her he was driving up to Philadelphia, where she was on tour with the Follies, and would see her in the morning. Marilyn begged him to wait until the next day, as driving at night in those days was hazardous. He drove that night, however, and lost his life when his car overturned. Carter was the love of Marilyn Miller's life, and she blamed Ziegfeld for his death. Those were, in certain ways, far gentler times, but Marilyn did not hesitate to call Ziegfeld a no-good son of a bitch and otherwise insult the man in front of his young daughter.
Producers of those days, while known for their affairs with prominent stage beauties, had to be extremely careful. A striking young woman once showed up in Ziegfeld's offices clad in a full-length mink coat. "I know that if Mr. Ziegfeld sees me in the right way," she told his secretary, "he will put me in the Follies." She thereupon walked into Ziegfeld's inner private office and dropped the mink coat to the floor. She was stark naked. Ziegfeld, flabbergasted, opened the door and yelled for his secretary to get the woman out of his office. Why? One never knew when one was being set up to be blackmailed.
There were other women, known to Ziegfeld, with whom he felt no real danger. Victor Herbert, the legendary composer, had written several pieces for the Follies for which he had not been paid; Flo Ziegfeld was a notorious staller when it came to paying bills. Herbert entered Ziegfeld's outer office and was told that Mr. Ziegfeld was not in that day. Herbert's face grew red with anger. He turned purple when the door to Ziegfeld's private office suddenly swung open. There was Ziegfeld, performing the ultimate sexual act with a show girl on his desk. Victor Herbert stormed out and, reportedly, suffered a stroke while waiting for the elevator.
There is no doubt that stars, directors, producers, and other powerful people of the stage have, at times, intimidated those of lower station into sexual affairs. There have also been cases in which those of lower station have seduced their higher ups to gain advantage. Much more common are the situations in which directors, stars, et. al., make sure that their paramours get jobs.
The theatre is a very social business; sex is an important part of life. This is not about to disappear.
#americantheatrenetwork
Women have been a part of the theatre for centuries. This was not always the case in many countries. Japan did not allow women in Kabuki or No theatre. Nor were there any actresses back in the days of William Shakespeare. It may be difficult to picture Juliet played by a boy of twelve or so, but that was very much the case in the late sixteenth century.
Actresses have been part of western theatre since Great Britain's restoration of the Stuart monarchy in 1660. They have been exploited, used, abused, promoted and demoted. Some of these women were strong people; others were not. Many were charming and/or charismatic. Sex has been, with rare exception, part of their professional lives.
Eleanor (Nell) Gwyn, "Sweet Nell of Old Drury," was the antidote to puritanism in the 1670s. She was the mistress of, successively, the actor Charles Hart, Lord Buckhurst, and King Charles II. She was known for her wit, charm, physical beauty, singing and dancing; she had a flair for comedy, and was arguably the world's first great stage comedienne. She bore King Charles two sons and died, aged 37, in November, 1687.
Florenz Ziegfeld, Jr., creator of the Ziegfeld Follies, was known for "Glorifying the American Girl." He did more than glorify them. His first marriage, to French star Anna Held, was a common law marriage. The love of his life was Lillian Lorraine, a show girl who graced several editions of the Follies. Lillian was beautiful but irresponsible and often senseless. She married playboy Frederick M. Gresheimer (whom she stole away from Fanny Brice) in March 1912, divorced him after a few months, remarried him in 1913, and then had this, their second marriage, annulled, claiming he had "misrepresented himself." Ziegfeld's wife, Billie Burke, once said that she was jealous of Lillian, but not Marilyn Miller, arguably her husband's greatest star. Ziegfeld, said Billie, idolized Marilyn Miller; but he loved Lillian Lorraine.
Marilyn Miller, in fact, hated Ziegfeld. Why? She and her boyfriend, Frank Carter, were both in the Follies of 1919. When the show was in rehearsals, she and Frank eloped and married. Ziegfeld was furious when he received the news and promptly fired Carter. Marilyn and Frank talked things over, and decided it was best that she stay in the Follies. Carter got a part in a titled See-Saw, produced by Henry W. Savage. When See-Saw closed in Wheeling, W. Va., at the end of the season, Frank called Marilyn and told her he was driving up to Philadelphia, where she was on tour with the Follies, and would see her in the morning. Marilyn begged him to wait until the next day, as driving at night in those days was hazardous. He drove that night, however, and lost his life when his car overturned. Carter was the love of Marilyn Miller's life, and she blamed Ziegfeld for his death. Those were, in certain ways, far gentler times, but Marilyn did not hesitate to call Ziegfeld a no-good son of a bitch and otherwise insult the man in front of his young daughter.
Producers of those days, while known for their affairs with prominent stage beauties, had to be extremely careful. A striking young woman once showed up in Ziegfeld's offices clad in a full-length mink coat. "I know that if Mr. Ziegfeld sees me in the right way," she told his secretary, "he will put me in the Follies." She thereupon walked into Ziegfeld's inner private office and dropped the mink coat to the floor. She was stark naked. Ziegfeld, flabbergasted, opened the door and yelled for his secretary to get the woman out of his office. Why? One never knew when one was being set up to be blackmailed.
There were other women, known to Ziegfeld, with whom he felt no real danger. Victor Herbert, the legendary composer, had written several pieces for the Follies for which he had not been paid; Flo Ziegfeld was a notorious staller when it came to paying bills. Herbert entered Ziegfeld's outer office and was told that Mr. Ziegfeld was not in that day. Herbert's face grew red with anger. He turned purple when the door to Ziegfeld's private office suddenly swung open. There was Ziegfeld, performing the ultimate sexual act with a show girl on his desk. Victor Herbert stormed out and, reportedly, suffered a stroke while waiting for the elevator.
There is no doubt that stars, directors, producers, and other powerful people of the stage have, at times, intimidated those of lower station into sexual affairs. There have also been cases in which those of lower station have seduced their higher ups to gain advantage. Much more common are the situations in which directors, stars, et. al., make sure that their paramours get jobs.
The theatre is a very social business; sex is an important part of life. This is not about to disappear.
#americantheatrenetwork
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