Archive for the Jews/ Show Biz Category

Eddie White: “I Thank You”

Posted in Comedy, Jews/ Show Biz, Singers, Stars of Vaudeville, Vaudeville etc. with tags , , , , , , , , , , , , on May 18, 2017 by travsd

Eddie White (Michael Weintraub, 1898-1983) was born on May 18.

White comes to the attention of modern buffs almost entirely from his 1928 Vitaphone short called I Thank You, after his oft-repeated (by him) catchphrase. When you’ve seen a whole mess of Vitaphones, you easily lump them into categories. Some, like Burns and Allen, and Rose Marie, are folks we already know. Some, maybe most, are folks we don’t know and leave little impression. And a discrete handful are folks we don’t know and make a huge impression: a great act, big talent, a vivid or eccentric personality, sheer weirdness, or whatever. Those are everybody’s favorite Vitaphones and I think those end up being the ones we see for a reason; the screenings are almost always curated by the savvy Ron Hutchinson of the Vitaphone Project, who has the ears, eyes, nose, bones, brains, and guts of an old time vaudeville producer, which also means knowing what contemporary audiences will respond to.

At any rate, I Thank You is just such a short. Eddie White is one of the memorable ones. Tall, thin, and lanky, with a scrawny neck, enormous ears, and a high-pitched voice, you’d swear in watching the film that he was an adolescent, no more than about 15 years old. That was the impression I took away the first time I saw the film several years ago: that he was a precocious, talented teenager, probably from New York’s Lower East Side. The ethnic jokes and the crowd pleasing song set, featuring, “Let a Smile Be Your Umbrella (on a Rainy Day)”, “Get Out and Get Under the Moon” and the show-stopping “Mammy”, probably planted that idea. But I was off.

As we see from his birthday year, the young man was actually 30 when this Vitaphone came out. Its national release was probably the high point of his long career, which was mostly East Coast based, concentrated in Philadelphia, Atlantic City and New York. Born in South Philly, he debuted as a young man at the Old Norris Theatre in Norris, Pennsylvania and was using the stage handle “Eddie White” by 1920.

In the 20s he seemed an up-and-comer. He was a big time Keith’s act by mid-decade, one sees references to him playing important big time houses like New York’s Hippodrome.

He became associated with the famous 1932 song “Sam, You Made The Pants Too Long”, though Milton Berle had written the parody lyrics and Joe E. Lewis had the 1933 hit record. Vaudeville was dying around this time and the path of White’s career is hugely instructive about what the hustling performer did to fill the time with bookings. A small announcement in a 1936 issue of Billboard seems pivotal. The item describes White as a vaud vet who would now be officially turning his attention to night cubs. And thereafter he seemed to work pretty steadily as an m.c. and entertainer at night clubs and resorts, most especially the Steel Pier in Atlantic City, although one continues to find references to him playing dates farther afield in places like Pittsburgh and Ohio. Part of White’s legend is that he became a figure in the career of the Jersey-based burlesque comedians Abbott and Costello, when he saw them performing and put them on at the Steel Pier, where they first began to attract more widespread notice.

White produced and hosted a variety revue called The Zanities of 1943 in Philadelphia that got good notices. He headlined in the Palace Theatre revival in 1955. He retied from show biz in 1959.

I had the thrill of talking to White’s only child Jay Weintraub (b. 1933) the other day, and he helped add texture for White’s later years. He said the family moved to Chicago for three years, where White had a steady gig at a night club. He said his famous friends included Berle (who’d given him “Sam” to sing), Judy Garland, Red Buttons, Henny Youngman, and of course Abbott and Costello (Weintraub recounted an anecdote where Costello flew the family out to spend a few days with him in Hollywood). And he said the William Morris Agency tried unsuccessfully to book Eddie for the Ed Sullivan Show, but he was rejected for being too “ethnic” — he did a lot of Jewish dialect humor, which might not come across to wider audiences (and might have offended some others).

But mostly, says Weintraub, “He was a family man. His main interests were his brothers and my mother and me. He would go off and do his dates for a few days but then he would always come home.”

Most intriguingly, Mr. Weintraub mentions an enormous scrapbook of clippings in his possession and THIS would be the great resource of information on Eddie White. Hopefully some day an intrepid researcher will gain access to it and convey its contents to the wider public.

Special thanks to the one and only Mr. Chuck Prentiss for connecting me with Jay Weintraub!

To find out more about  the history of vaudevilleconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold.

Milberger on “The Marvelous Mrs. Maisel”

Posted in Comedy, CRITICISM/ REVIEWS, Jews/ Show Biz, Television, Women with tags , , , , , , , , , on April 1, 2017 by travsd

We enjoyed the pilot of Amazon’s The Marvelous Mrs. Maisel a great deal — in fact, enough to write our own review. But we knew someone who could write a better one: multi-talented actress, comedienne, screenwriter/playwright, podcast host, comedy scholar and Gracie Allen expert Lauren Milberger.  Her Gracie Allen guest post here five years ago is in our all-time top 25! I just knew she’d have great things to say about the new show, and she did. I turn you now over to her:

The Marvelous Mrs Maisel: A Woman in Redux

Many people would consider the modern Golden Age of Comedy to be the 1950s and 60s, when what we know today as stand-up became all the rage and television was in its infancy. When the comedy from vaudeville finally had its eyes back again (after years of being in the dark with radio) and was able to take its experience to mint legends for the ages. Television turned night club raconteurs into instant celebrities, thanks to the likes of Jack Paar, Ed Sullivan and soon – the king of them all – Johnny Carson. But except for Lucille Ball, how many women from this era have seen their strengths and struggles dramatized, their stories told? For all the plays, films and TV based on Neil Simon, Mel Brooks or Carl Reiner’s fond memories of the 1950’s classic sketch show Your Show of Shows (and later Caesar’s Hour), sporting a writing staff that included most of the comedy legends for the latter part of 20th century (Woody Allen, Larry Gelbart, Mel Tolkin, etc.), where are the stories solely about Lucille Kallen or Selma Diamond? Where are the lavish odes to Madelyn Pugg, who wrote most of I Love Lucy’s classic episodes and who was given the moniker of “Girl Writer” because of the oddity of such a thing at the time?  Because for every Lenny Bruce, George Carlin, Alan King, Bob Newhart and Richard Pryor, there was a Joan Rivers, a Moms Mabley and an Elaine May. Today, Tina Fey and Amy Poehler are household names, but the female narrative of comedy they came from seems mostly forgotten or glossed over. That was until Gilmore Girls creator Amy Sherman-Palladino gave us the new Amazon pilot The Marvelous Mrs. Maisel.

Written and directed by Sherman-Palladino, The Marvelous Mrs. Maisel tells the story of Miriam ‘Midge’ Maisel (Rachel Brosnahan), whom we first meet at her wedding reception, doing stand-up (unbeknownst to herself) and regaling her family and friends with the cleaned up version of her 1950’s teen life at Bryn Mawr College. Four years later, Midge has two kids and the seemingly perfect New York Upper-West Side Jewish life of 1958, and one would assume to find her spending her nights in Greenwich Village trying her hand at stand-up comedy. However, this is 1958 after all, and Midge is just a “housewife” making brisket, worried about keeping her figure and beauty for her husband – all while having time to prepare the perfect Yom Kippur break -fast for the Rabbi and for her family. It’s only when a family crisis (which I won’t give away) sends Midge’s “happy life” into upheaval that she finally discovers that she is the talented stand-up in the family, not her wannabe husband. A talent that, based on the synopsis, will take Midge all the way to Johnny Carson’s couch – the pinnacle and seminal moment for stand-ups of her generations.

Within the short pilot, Sherman-Palladino is able to establish Midge as a smart, confident and funny female who knows what she wants, even if it took her 26 years to know that she, as a woman, could achieve it. Midge belongs in the company of other Sherman-Palladino heroines: a witty, fast-talking brunette you want to root for. What the pilot also does well is establish the obstacles Midge will be up against in her upward rise to fame. The fact that Midge didn’t even expect herself to go into comedy, that it was her husband’s job, is a red flag on its own; but what the pilot does best for a layman of this era is to establish this pre-feminist environment Midge will have to push against to succeed. Midge, for example, keeps a journal of all of her measurements, something she has done since she was a child, and even goes so far as to hide her night beauty regiments from her husband to make him believe she wakes up with perfect hair and make-up – behavior that appears to have been passed down from her own mother who in the pilot worries her baby granddaughter has too big of a head and bemuses that her daughter is officially done wearing sleeveless dresses. Even Midge’s own father blames her for her husband’s failings – something that even shocks Midge. Sherman-Palladino’s music choices, as with Gilmore Girls, do a wonderful job to establish mood, tone, and style of the time period. Paired with the vibrant colors and sets of 1958 New York City, it all makes the audience feel like they’ve stepped back in time.  What you ultimately get with Mrs. Maisel is the fast, witty dialogue of Gilmore Girls mixed with the epic scope and social commentary of Mad Men, and a comedy history lesson to boot.

Along the way Midge meets Gilmore Girls alum Alex Borstein who plays a hardened (West) Village bartender Susie at the comedy club “The Gaslight Cafe “ – which appears to be a fictitious stand-in for “The Bitter End”. Susie sees the rare comic talent in Midge, comparing her to Mort Sahl (an icon in his day). Finally at one point Susie tells an unsure Midge, “I don’t mind being alone. I just do not want to be insignificant. Do you? Don’t you want to do something no one else can do? Be remembered  as something other than a wife… a housewife…” – a universal question women, hell, humans ask themselves. It resonates with Midge as it did me and it pushes Midge to take the first steps to go after her own dreams with as much gusto as she put into making a brisket or we can only imagine she put into getting back in her Rabbi’s good graces. It’s fitting that what will one day became one of most important day in Midge’s life takes place on Yom Kippur. It is a day of atonement of sins, yes, but is also a day of starting over. Of re-birth. Of having your sins forgiven and wiping the slate. (In fact, she literally ends the day wearing wearing someone else’s shoes)

Also making an appearance are The Kingston Trio and, in a more substantial role, Lenny Bruce himself (played wonderfully by Luke Kirby), establishing that there are rules to this world (which includes being arrested for indecency) and that being innovative means sometimes you have to break these rules.  Every actor in the pilot is a knockout, led by the adorably charming Rachel Brosnahan as Midge, and (as Sherman-Palladino always does) casting stalwart actors such as Tony Shalhoub and Marin Hinkle as Midge’s parents.

For me, what really struck home this piece in my heart was not just that it was about a woman who will pioneer comedy, but that this is the story of a Jewish woman in comedy. See, a short time ago I had a revelation. And hear me out, here. It may sound crazy… but… as a Jewish woman I feel unrepresented within the comic Jewish narrative. No seriously I do. Think about it… 99.9% of what we know as the traditional comic Jewish persona is male driven. And I don’t just mean this in the sense that this narrative is mostly populated by men. What I talking about is the ideas or tropes that are usually identified as the classic heritage of Jewish comedy, or voice, comes from the point of view of a strictly male narrative. The style, the attributes, what consolidates a comic Jewish stereotype – from Alan King to Woody Allen to Jerry Seinfeld. And yes, this is a history that stems all the way from the ethnic comedy of vaudeville to the dining rooms of the Catskills “Borscht Belt,” so of course it comes from a male dominated society.  But for me it was a persona I had adopted as my own, that I thought I was a part of. It wasn’t until I saw more of myself in the works of Ilana Glazer and Abbi Jacobson (Broad City) and of Rachel Bloom and Aline Brosh-McKenna (Crazy Ex-Girlfriend) writing actual Jewish women that I started to notice it more: I wasn’t represented. Where I had previously thought I saw myself in the worlds of Allen and Seinfeld, and even Aaron Sorkin to a degree, I only had to take a step back to see that alongside their “Jewish avatars” were mostly goyisha women.  And that when any token Jewish women actually appeared, they were nags or annoying stereotypes with funny voices for laughs.  And yes, to a non-New Yorker, Midge has a funny voice, but what her voice is in so many ways authentic. Here is a familiar, confident, Jewish woman I recognize. And this is a good thing not just for seeing myself represented in the narrative, but also for what it does to the public at large. To show that we aren’t just jokes and nagging mothers in a punch-line. Or bad dates their mother sets them up with. We are also part of this heritage of comedy. And I think there is no better person than Amy Sherman-Palladino (whose own father was a comedian during this era) to use her own Jewish voice to tell us all about Mrs. Maisel and how she made it to the top of comedy. So I recommend you watch this pilot and vote for it to be picked up for series (or else it won’t, that’s how Amazon works) And if the male in your life or the ones reading this still aren’t sold on  “Mad Men/ PunchLine for chicks” … just tell ‘em there are also tits in it. 😉

 

Zero Mostel: The High Brow’s Low Brow

Posted in Broadway, Comedians, Comedy, Hollywood (History), Jews/ Show Biz, Movies with tags , , , , , , , , on February 28, 2017 by travsd

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Today is the birthday of the great Zero Mostel (1915-1977).

It would be par for the course that such an eccentric actor and performer as Mostel would also have a highly idiosyncratic career in the bargain. He is best known his hot streak in the 1960s, encompassing the original Broadway production and film versions of A Funny Thing Happened on the Way to the Forum, the original Broadway production of Fiddler on the Roof, and the original film version of Mel Brooks The Producers. These iconic star turns, combined with one of his last roles, as a blacklisted comedian in The Front (1976) helped, I think, to cement a false if welcome image of Mostel as the traditional Jewish-American show biz creature, perhaps someone who had been in vaudeville and burlesque, and then later worked as a Catskills comedian. As it happened, Mostel had the right background for that: Jewish immigrant parents, and a childhood in Brooklyn and the Lower East Side. And he was just that kind of a broad, physical comedian, with such a sure-fire repertoire of schtick, that one could be forgiven for thinking he had developed in those time honored schools of show biz. He certainly would have thrived there, with his uninhibited, scenery-chewing mania, his hilarious comic mask with those flashing, popping eyes, and his populist, earthy appeal.

But if you look at his birth year, he was just a little bit too young for vaudeville and burlesque. Technically, he could have performed there as a child or teenager, but as it happens, he didn’t. A precocious, intellectual child, he drifted into show business in the most unlikely way possible — as an art instructor. An accomplished painter himself, he gave gallery talks at New York City museums as part of a New Deal works program in the mid to late 1930s. He was so funny and entertaining, he began to be hired for private parties and other functions. This led to performances at cabarets and night clubs. By the early 40s, he was getting roles on Broadway and in Hollywood films (Dubarry Was a Lady).

Service in the army during World War II, and anti-Communist blacklisting in the early to mid ’50s were speed bumps in his career. A local tv show with Joey Faye in 1948 may have been the closest he ever got to real burlesque. In reality he was drawn to high-brow theatrical roles and Absurdism, including Brecht (The Good Woman of Setzuan on Broadway, 1957), Joyce (Ulysses in Nighttown, off-Broadway 1957-58, Broadway 1974), Beckett (Waiting for Godot, television, 1961), and Ionesco (Rhinoceros, Broadway, 1961, and film, 1974). These critically acclaimed turns helped catapult him into the comic tour de forces he is best known for.

It goes without saying to anyone familiar with his work that Mostel was a bundle of insane, animated energy, a performer of genius, but one of a particular type. He shone best as the untrammeled star of whatever he appeared in. But parts for his special talents — a mercurial Jewish zany in his late 50s — don’t come along every day. Many of his roles in the ’70s tended to hide his light under a bushel, shoehorning him into films in more conventional character parts. He died of an aortic aneurysm following a crash diet at the relatively young age of 62.

For more on slapstick comedy don’t miss my book: Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube, just released by Bear Manor Mediaalso available from amazon.com etc etc etc. For more on show biz historyconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold.

Hustling Hitler: The Jewish Vaudevillian Who Fooled the Fuhrer

Posted in BOOKS & AUTHORS, CRITICISM/ REVIEWS, Jews/ Show Biz, Vaudeville etc. with tags , , , , , , , , , , on February 8, 2017 by travsd

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It undoubtedly speaks to my present state of mind that I wasn’t crazy about Hustling Hitler: The Jewish Vaudevillian Who Fooled The Fuhrer. Someone recommended it to me online just knowing I’d love it, and the title certainly sounds like the kind of thing I’d really go for, for a multiplicity of reasons. But the title mis-sells it. I was expecting and hoping for a real-life story perhaps mixing elements of To Be or Not to Be, I am a Camera, and Schindler’s List, featuring real-life derring-do and heroism by a cabaret performer deep in the heart of the Third Reich…

Instead, the book’s subject turns out to be an American flim-flam artist, vaudeville manager and impresario from Troy, New York named Freeman Bernstein. His “hustle” of Hitler consisted of selling him a few tons of scrap metal under the premise that it was a shipment of nickel, much in demand as Germany was preparing for war. Even as a swindle this strikes me as rather contemptible, lacking whimsy or creativity, just kind of a bottom-feeding theft. I’m glad it happened to Nazis, but if it happened to anyone else I’d say, “Clap that dude in irons and bring him bad food.” Further, the book, in the tradition of its subject, keeps you on the hook for over 300 pages before finally delivering its underwhelming story. It is preceded by pages of lore about the guy’s show biz career running amusement parks and small time vaudeville houses, and crossing paths with the occasional person of note, such as Mae West, to whom he once tried to sell some fake jewels. (It’s not so easy to sell fake diamonds to Diamond Lil).

The book is a labor of love by Bernstein’s great-nephew Walter Shapiro and has the flavor of family anecdote, a long, winding bar-room story at long last set down on paper. I’m going to hang on to it for awhile and perhaps mine it later for vaudeville lore. But at the moment I am much less interested in vaudevillians per se than in VAUDEVILLIANS WHO TOPPLE NAZIS, know’m sayin’?

R.I.P. Professor Irwin Corey: Dead at 102

Posted in Comedians, Comedy, Jews/ Show Biz, OBITS, Stand Up with tags , , , on February 7, 2017 by travsd

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There’s been lots of chatter on social media since last night and I finally got definitive word from Bob Greenberg: Professor Irwin Corey has passed away at age 102.  Those old enough to remember him from tv, may justifiably ask, “Professor Irwin Corey is still alive???” But here in New York he remained very much present and visible in at least two of the circles I run with. The subset of the comedy community that respects its old timers knows him well, of course. As does the progressive activist community. Irwin was very active well past the century mark, still going out, still being “public” amongst those two groups, attending their dinners and functions and parties and meetings, interacting with people, cherishing the limelight. And, as always happens when you approach and then pass 100, he’s gotten more press than usual in the local papers in recent years.

Irwin’s schtick was very vaudeville: he affected the distracted, disheveled look of the academic intellectual much popularized by Einstein: ill fitting clothes and long, messy hair. He was a kook who would spout nonsense, confusing the convulsed audience while purporting to enlighten them. He started this bit at night clubs and cabarets in the ’40s. In the ’60s, he caught on with the counterculture and tv. By the ’70s, since he was so well recognized, he got lots of bit parts in movies.

At the same time, he was extremely left wing, a radical of the type that had become quite rare in America by the turn of the 21st century. He surely must have been flipping out these last few weeks.

Bob Greenberg, who was his good friend, posted this message last night:

“Irwin passed away at 6:27 PM tonight in his home. He had just eaten Vanilla Ice Cream Swirl followed by Egg Drop Soup. (The Ice Cream didn’t satisfy him so he sent his son out to get the soup.) After the soup he complained that the covers were too heavy on his feet. (This was odd since he usually complained that there wasn’t enough covering him.) His Nurse adjusted them and when she looked up he was gone. “

Farewell to the “World’s Foremost Authority”.

R. I. P. Nat Hentoff

Posted in Comedy, CULTURE & POLITICS, Jazz (miscellaneous), Jews/ Show Biz, ME, OBITS, Stand Up with tags , , , , , , , , , on January 8, 2017 by travsd

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Boy! How’s this for symbolic timing? The great journalist Nat Hentoff has passed away at age 91. We need as many men and women like him as we can get at the present moment; and yet I can well understand him, after a 70+ year career, looking at the result of the last election and the challenges ahead, despairing at the impact of his life’s work and refusing to go another step.

When I moved to this city 30 years ago, he was the Great Lion of the Village VoiceI read him weekly there, and pored over a few of his many non-fiction books. His influence on me ended up being enormous. There is no doubt, NO DOUBT in my mind, that my strong reverence for the U.S. Constitution, especially the Bill of Rights and the First Amendment in particular, is a result of Hentoff’s hammering that message home in his writing, week after week after week, for decades. It’s central to who I am. Though I never met him, he imparted that wisdom to me, to such an extent that I find myself bewildered that everyone doesn’t possess the same understanding of the document’s frailty and preciousness. It is our only bulwark against tyranny; it has always been under assault even in the best of times; and given the rhetoric of our President-elect, one can only imagine that it about to be gutted and trampled with unprecedented fury. I’m glad to know Nat Hentoff won’t be around to see what’s going to happen to his beloved Constitution.

Hand in hand with his near-worship of our Founding Document was Hentoff’s deep, profound appreciation for America’s national music, jazz. He was of the generation that went for bebop and musicians like Coltrane, Mingus and Roach. In fact, Hentoff may have been our best known jazz critic, and I have always been fascinated by the pairing, the relationship between his music writing and his political writing. Among its myriad and assorted pleasures, jazz was for Hentoff a metaphor for America’s political ideals. Jazz and related improvisational forms (blues, soul, gospel, rock, hip hop) is based on an aesthetic of freedom, but freedom with rules. The musicians need to play together; the solos can be quite far out, but the players always return to the theme and give their bandmates a chance to take their own solos. Anarchy isn’t the point; freedom is. Musical anarchy sounds terrible. (It’s safe to say my making a political metaphor of vaudeville in No Applause was ultimately inspired by Hentoff doing the same thing with jazz.)

The other great theme of Hentoff’s life was education, and he was always very vocal about how he himself was a product of his teachers and mentors. Though he was an atheist himself, it is instructive to me the extent to which he was influenced by two great world religions, Judaism and Catholicism. A Jew himself, he was educated at Boston Latin, where many of his teachers were Catholic. One of his heroes was Supreme Court Justice Louis Brandeis. The area in American politics where Jews have made the biggest impact has been in the courts, which Hentoff believed to be an extension of the great tradition of Talmudic interpretation and disputation. In our system, we argue it out and come to consensus. We don’t give and follow orders from a single individual at the top. At least, that’s the way it has always been.

Some of my readers will find the Catholic influence less fortunate, but to my mind it makes Hentoff even more interesting and valuable and unique and worth emulating, not for the beliefs themselves but because he could not be put in a box. From the Catholics came his absolute reverence for human life, which for him meant 100% opposition to the death penalty, euthanasia, war, torture, and, yes, abortion. I’m not here to defend or argue the latter stance (with which I happen to disagree), but it does make him among the most anomalous abortion opponents ever, an atheist Jew from the Northeast, a strange bedfellow indeed amongst all the Bible thumpers.

This combination made Hentoff among our foremost libertarians, and one equally at home (and not at home) among the left and right. This is the kind of independent thinker I cherish a great deal; there are so bloody few of them.

Another take away from Boston Latin — that excellent classical education made Hentoff a terrific writer. There is so much to be said for this. Unlike many of my favorite critics, I’m not sure I would ever call Hentoff a “talent” or a “wit”. He wasn’t, for example, funny, which makes him one of the few writers I love about whom that can be said. I would call him a “thinker”, someone whose thoughts and ideas were unique and logical and original and passionate. He was less about the words themselves than about expressing his thoughts as clearly as he could. His education allowed him to do that. This meant that, despite the fact that he wasn’t a flashy, poetic, memorable wordsmith, that I still read him all the time for the sake of what he had to say alone. And this meant that I was introduced to tons of subjects I might never have otherwise encountered. The greatest example I can think of is the life and work of independent journalist I.F. “Izzy” Stone.  Stone died in 1989; Hentoff eulogized him at the time, and wrote about his example on many other occasions. Stone was an American hero, a guy with a mission to uncover and communicate the truth, whatever the cost to himself, all day, every day, until the day he died. Hentoff’s admiration for such characters was always infectious.

Someone else I associate with Hentoff is Lenny Bruce. They had so much in common: Jews born in the twenties, verbal guys, whose work embodied the twin themes of jazz and the First Amendment. They knew each other of course. I just found this great clip of the two of them in conservation shortly before Bruce died in 1966, framed with later commentary, circa 1972. Watch it here. Nat Hentoff interviewing Lenny Bruce; that’s pretty much everything. Neither of them believed in heaven, but I don’t care. As far as I’m concerned, they’re both there anyway.

Norman Lloyd: A Century of Excellence

Posted in Broadway, Hollywood (History), Jews/ Show Biz, Melodrama and Master Thespians, Movies, Radio (Old Time Radio), Television, The Hall of Hams with tags , , , , , , , , , on November 8, 2016 by travsd

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Happy 102nd birthday to Norman Lloyd (Norman Perlmutter, b. 1914), who has enjoyed surely one of the most amazing theatrical careers in history.

Lloyd has been a performer since 1923 — over 90 years. He started out taking lessons and performing at clubs and benefits in his native Brooklyn at the age of nine. He was a prodigy. He graduated from high school at age 15 and enrolled NYU, later dropping out because he said it seemed senseless during the Depression to waste money on an education for a job that likely wouldn’t be there when he graduated. So he focused on the theatre, becoming (at 17) the youngest apprentice at Eva La Gallienne’s Civic Repertory Theatre. His first Broadway show was Andre Obey’s Noah (1935). In the 1930s, he worked with the Group Theatre, the Federal Theatre Project’s Living Newspaper Unit, and the Mercury Theatre, for which he played Cinna the Poet in Orson Welle’s legendary production of Julius Caesar (1937-38).

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He initially went to Hollywood in 1939 with the Mercury company to appear in their first planned production at RKO, which was to be Heart of Darkness. When that production appeared to be not forthcoming, he returned to New York, missing the opportunity to be in Citizen Kane. He appeared in a few more Broadway shows, then came back to Hollywood to play a memorable Nazi in Alfred Hitchcock’s Saboteur (1942), later appearing in Spellbound (1945), as well. He was in a number of memorable movies throughout the ’40s and early ’50s: The Unseen (an adaptation of Henry James’ The Turn of the Screw, 1945), Jean Renoir’s The Southerner (1945); the all-star World War 2 picture A Walk in the Sun (1945), the Burt Lancaster swashbuckler The Flame and the Arrow (1950), and Charlie Chaplin’s Limelight (1952).

About to fall off the Statue of Liberty's torch in "Saboteur"

About to fall off the Statue of Liberty’s torch in “Saboteur”

In the ’50s and ’60s, he became heavily involved in television as an actors, producer, and director, most notably and consistently on Alfred Hitchcock Presents (1958-1962) and The Alfred Hitchcock Hour (1962-1964). In the ’70s, he produced and directed several made-for-tv movies. He appeared in the terrible comedies FM (1978) and The Nude Bomb (1980).

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Then, at 68 years of age he began to play what may be the best known role of his career, as the crotchety Dr. Auslander on St. Elsewhere (1982-1988). And he never stopped! He’s in Dead Poet’s Society (1989), The Age of Innocence (1993), and movie and tv credits right up nearly to the present day — he was in Amy Schumer’s Trainwreck last year (2015)!

Unusually, his essential persona seems to have changed little in all that time. As a young man, he already read as “old man”, bookish, serious, and perhaps a little frail. But that last of course is an illusion. A man who’s still doing movie shoots in his second century is anything but frail. Hat’s off to you today, sir!

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