Meanwhile, no one asks our colleagues of color how they’re all suffering from tokenism exhaustion. The pendulum swings from one end to another, razing through anyone who stands in the middle raising their hand in objection. I’m waiting until the industry eats itself and then will try and make a nice meal out of the left overs. And if that time never comes, or if my inspiration never comes, so be it. Let the next generation figure it out.
Yup, I see that--an' I wonder if they do feel a burden, like, as havin' ta "represent" some "awesomeness've" color (which would be unfair / difficult) OR if they take their "upliftin' " as due / in stride? May be on a person-ta-person basis. Like when my younger one was doin' her chorus an' without sayin' a thing, they had the darker skinned fellers n' gals move up front--like ta make sure "diversity" wuz visible (?!) an' I thought what a lotta eww/yuk AND don't those KIDS moved up feel that's weird? My kid did--but she's caught on / seein' this stuff in her own (former) auditions n' gettin' passed up for the diversity stuff. In the chorus it was 'specially odd as some've 'em were taller so now shorter (but paler) kids were behind 'em--used ta go by HEIGHT (I guess that wuz too demo-crat-ick). I dunno... I DO hope the in-dust-ree eats itself--an' if they cook them leftovers I hope it's Meatloaf! (I'd gladly lend a hand in consumin' it). It's sad--it breeds resentment (intent-shun-all?) in all those passed over (I DO wonder how folks like Jack Nicholson--very alive! 'r thinkin' of this "Anniversary" of his actin' alma mater...) AND shoves in a divide--'tween the have / have-nots/have-nuts that ain't purdy. No more kin ya say that color-blind castin' WITH a dose've common sense thrown in wuz good--that talk is "banned" now--why so? ALSO draggin' "token" folks inta shows they'd never audition for an' have no interest in--this was a recent thing too an' many shows suffered sorely fer it--but sssssh! cain't say a word. But yer full'a inspiration so don't worry 'bout that leavin' ya my friend. An' we put out our good hearted efforts--those that earned should be applauded regardless of their "identities." (But I DO think we need ta help that next generation along cuz we KNEW sanity--the real young'uns haven't seen it yet so I we gotta at least git some furniture in the room set-wise an' then let 'em arrange it...) Fingers x'd fer meatloaf!
Well, thanks for lifting me up, Daisy. I guess I can leave my “they got in this mess, let ‘em get out of it’ attitude in the foyer. I have some bitterness lingering in me, trying to squash it with artistic efforts with folks like you, but I suppose, eventually, I gotta go see if I can help the young ones. You have a great attitude and it would appear you’ve taught your daughter well too.
And no, Jack Nicholson came out on his balcony all dishevelled, smelled the bullshit, and walked right back inside.
Why sure ya kin! We all got bitterness (it's justified!) an' just have ta find the sweetness in life--AND other routes-creative-happy kinda like them star-nosed moles that root 'round in the dirt! Between some burned bridges (cuz I opened my big yap when I saw things wuz wrong) an' those that fell much without my help, I don't 'xpect a revival so much as something new ta pop up. Surely Chicago Thee-ate-'er has suffered like New Yawk an' the ghosts 'r in that machine too! Findin' new wayz n' means with what we know--spit n' vinegar--is how we'll set this example fer the kids--in whatever wayz-creative. Sounds like ya did right by your kiddos too--my girls, 'specially my younger'un--STILL have a passle've bitterr herbs ta navigate --it's not that easy (an' these TEEN years are a bear! an' not a dancin' one either!). So every day I just take a lotta deep breaths an' SLOWLY try ta find sprouts in the dirt (up here in boonies it's slower too!) while bitin' my lip not ta let out too much from my pack've Snide -- includin' the Seuss what-wuz-I-skeered've kind!). 'Tain't easy havin' the rug pulled out from under ya I know (an' mine was an old one--no red carpet at'all!)
As fer Jack N.--what a hoot! So funny as I did just post'bout 'im... So he KNEW about the 75th an' also smelled it from afar? HA! Gotta love 'im--if he gave it the proverbial finger it wuz well deserved. He certainly don't bow to woke an' bless 'im fer that!
Okay, here's what I found on the The Actor's Studio website:
"Notable participants in the PDU have included Edward Albee, Tennessee Williams, Norman Mailer, Harold Clurman, Mark Rydell, James Baldwin, Lorraine Hansberry, Terrence McNally, and Arthur Kopit, among many others."
I have no idea whether Hansberry and Baldwin made significant contributions to the artistic life of that place, but they were there, at least according to TAS.
As far as their BIPOC-centric celebration goes, I've accepted that the theatre industry (and just about every other industry, as well) is making this their raison-d'etre. What else can I do? Other than continue to write what I want to write and trust that someday, somewhere, there will be an audience for it.
Though I'll admit... I also harbor a fantasy of writing something entirely heretical and producing it myself. And roping you and Tonika into it somehow...:-)
Yup, they DO mention these deservedly famous folks on their website (the alums ya list) but they were not a part've the 75th Anniversary "Celebration" --notta one've them--an' that's whut sticks in my craw. It's wrong. It mis-portrays the entire history!
OK--this isn't the glowing hist'ry they want folks ta know about but fer the sake've bein' more complete, I'll cover a bit've Baldwin who should not be portrayed so much as a real "collaborator" as (honestly) doin' so'd be "blackwashin' " as his actual very-much-fraught interactions with The Actor's Studio were fairly limited an' not so happy.
So back in 1958 The Actors' Studio (T.A.S.) drafted (with permission) an adaptation for stage of Baldwin's novel "Giovanni's Room" about a blond feller David who has a complex /gay relationship with an Italian man named Giovanni. Baldwin hated "their" version (which was not staged, he just read it in draft form). So he went to some writers' workshop (in New England) an' created his own adaptation an' THEN brought it back to T.A.S. for them to stage "his" version instead of their "approved" version. They begrudgingly acquiesced as his draft was not exactly well-liked. Baldwin, a brilliant writer but a demandin' an' "difficult" type requested that Brando or Monty Cliff or Paul Newman (all Studio Actors) star in the lead role. Instead, however, much to his disappointment a lesser-known actor named Mark Richards was cast as David; Baldwin was (reportedly) not pleased to say the least. However a very handsome an' talented Turkish-American actor Engin Cezzar played the Italian Giovanni (no black/BIPOC characters in the show btw...) and Baldwin was indeed very pleased with this hunky good lookin' performer.
SO.... though no known black actors or writers at the time were part've the studio, T.A.S. was VERY interested in including black talent (not b/c virtue signalin' but as a sincere effort...) so their seeking out the then-popular Baldwin was one effort in that direction.
However, the one-night staged readin' of "Giovanni's Room" (not a public performance) at T.A.S. was a bomb by all accounts, sadly everyone hated it with both lead characters (as written) comin' off as being unlikable. Baldwin was bitter too b/c he felt that IF one of the famous requested actors had been cast as David, THEN the play would have found (at the staged readin') a Broadway backer and would've had a public run. (Did not happen.) Only ONE person--the only other person of color in the audience that night, as it were...said she liked it. That was Lorraine Hansberry, who met Baldwin an' befriended him that very night (they became close buddies fer life, she was a semi-closeted lesbian an' both lived near each other an' had much in common!).
As I said, Baldwin also liked Cezzar's performance SO much he got Cezzar an' Cezzar's wife to stage the show in Istanbul in Turkish! But that one disastrous readin' was the first in-person experience Baldwin had with T.A.S. This was strike 1.
Now Strasberg was just starting "The Playwright's Division" of T.A.S. and had already worked with Norman Mailer, with the latter developin' work in direct collaboration with the actors. Strasberg thought Baldwin might be a fine addition to the new Division (in a paid position too!), but since Baldwin had had no experience with actors so it was decided he'd assist Elia Kazan (not as first AD but as an "assistant" on two plays), one of which was "Sweet Bird of Youth," since Tennessee Williams was also directly collaboratin' with T.A.S. and Baldwin would be able to watch how the playwright worked with the director. HOWEVER, Baldwin hated "assistin' " an' supposedly complained a lot about the experience (esp. about the other show by Archibald McLeish) so he was NOT goin' ta join The Playwrights Division TO collaborate with the group--just not his cuppa tea. I.e., he refused the invite... he did NOT join The Playwrights Division as the others (on my list) had indeed done. This was strike 2!
Now, Lee Strasberg, then head of T.A.S. didn't want ta give up on Baldwin--again, there were no playwrights or others "of color" an' Strasberg DID want to reach out...so one more time he contacted Baldwin.
Thus, a few years later, in 1964, Strasberg commissioned Baldwin ta finish his Emmett Till play, "Blues for Mister Charlie," an' old work-in-progress of Baldwin's. Strasberg felt the play needed to focus on the relationship 'tween black & white folks in a way that was "fair" to both races but Baldwin was goin' thru an especially angry-black-man period an' didn't see eye-to-eye with Strasberg (but he took the money anyway an' delivered the completed play with a dose've vitriol on the side). Baldwin wrote on his own, not working in any direct contact with T.A.S. or the actors (as his assistant-experience was one he cared not ta repeat...).
From all I have read, Baldwin was exceedin'ly bitter about the production. By all accounts (an' reviews as the public could see it...) the so-called collaboration was a disaster and the resulting "piece" was reputed ta stink (The New Yorker's most generous comment was that the piece was "dutiful, turgid, and unconvincing"). Strike 3--he was OUT!
So this is why I'd say Baldwin didn't really work with these folks. He did not every join The Playwrights Division. By contrast, Williams and McNally an others as playwrights worked intensively an' intensely with the actors--things were tweaked, improv'd, explored... wull, ya know how it is, what a JOY it normally is ta work WITH a playwright, right?
So yeah, they didn't pick Baldwin's name outta hat--but this warn't a joy--Baldwin's unhappy an very limited work with T.A.S. was not really an integral part of their 3/4's of a century successful rep., an' I still say ta trot him out (cuz name-famous) like some ol' mare was not true 'er right. (I like Baldwin as an author btw!)
As fer Hansberry, she had been invited to the Baldwin staged-readin' by friends an' as far as I can tell was just an audience member! This was a full year 'fore "Raisin" became famous. (Of note is that her 2nd an' only other known play, "The Sign in Sidney Brustein's Window" is now on B'way in revival (btw Rita Moreno starred in the original b'way version!)... I guess Hansberry's havin' her day now, all good). But 'far as I kin tell--she never did workshop EITHER of her plays at T.A.S. an' just attendin' staged-readin's does not make fer a 75th Anniversary tribute, right? right.
So my "pernt" is that I do resent when something that didn't really happen is portrayed retroactively an' positively as if it were so--when it wasn't!
I don't begrudge anyone their "due" but givin' such a BIPOC "legend" ('specially in place of the real story!) to folks as done here is just a bait'n' switch--kinda like celebratin' Judy Garland's performance in the film've "Annie Get Your Gun" without one mention've Betty Hutton (mind ya, there's footage of Garland who at least DID start the filmin'...so she's got "more" claim to the role than, I'll argue, Taino dancers got claim ta T.A.S.'s 75th!)
Last thought...I'll add that in this black-n'-brown warshin' of his-story, some journalists are also guilty--the re-branding of the history of The Actors' Studio was not (sadly) imagined in a void. It's a sorry sign've the times... (AND the NY Times too!)
So I know this wuz long--thanks fer addin' Arthur Kopit & Mark Rydell--both mahvelous additions. But as ya said SO key-recht-ly Mary, "the theatre industry (and just about every other industry, as well) is making this their raison-d'etre" an' loud-mouthed me is just callin' foul. I WISH some've the livin' actors who were left out would speak up! Mebbe folks are still too afraid'a bein' canceled.
I applaud the effort've T.A.S. reachin' out ta Baldwin at the time--as I wrote, a LOTTA these folks were civil rights activists! (As an aside, I'd say his mortal enemy Langston Hughes would'a been a better choice as an in-house writer as Hughes was know ta be a kind an' thoughtful collaborator in general... also a brilliant gay man-of-color and a POET of course!), but anywayz...
I feel this wuz all done to "wokefry" virch-chew-sic-null... So WHAT ELSE CAN WE DO? We can call out the bullshart! (Or share a nice illustration've it as I do...do...do) And yes, keep writin' an' KNOW you have an audience and some more'll come n' find it. We all gotta keep on speakin' UP an' OUT an' yes...findin' a way to shuck the baloney an' reject the gmo-cookie-cutter meat grinder that now characterizes not just The-Ate-'Er but all the 7 AHRTS!
I would LOVE ta see anythin' heretical ya write an' produce an' would be HONORED MUCHLY! ta join' you an Tonika in the effort. Whoooppe! That's the spirit!
In con-clues-shun, I still would wish that The ActTurdsStoodie-oh would do a redo--they COULD even have it a 76th Yr. proper anniversary an' take time ta plan it! Tho' I haven't stepped foot in there since pre-plandemic, know'in what n' who I do ('er did...) some LOVELY folks connected with the joint once upon, I think there'd be a passle'a patrons an' instructors that WOULD embrace a proper celebration... who might, at least NOW, see thru the vaseline the higher-ups have tried ta schmear on the lookin' glass of their proud past... Meanwhile, many've these "greats" have a legacy on film--so I guess we kin celebrate 'em on celluloid while we wait!
Holy smokes, Daisy... I'm stunned by your thorough and VERY elucidating reply!! Damn, you know a LOT about that place's history and players and social dynamics -- I feel like I've just gotten a huge education. Thank you SO MUCH for taking the time to set the record straight. I understand so much better now why the 75th Bash is so gag-worthy! And it probably shouldn't surprise me. I mean, what else are PR firms for, but to spin tiny threads into thick yarns?? xox
Wull sure, it's facinatin' his'ry too! Most folks not in the biz or related to it really wouldn't care much--but I do cuz it just seems so WRONG / false. Glad ya see it too. An' you know how hard it is on the minds'n hearts of the real "Method" folks! Golly. I recall friends n' fella students leavin' classrooms in tears like the lyric in Chorus Line 'bout the ice cream (hey, that's why I switched ta Meisner!). BUT all them stellar performers--really amazin' people--they worked SO hard (some nearly ended up the Cukoo's Nest doin' it!) an' instead they replace all that?! Really?!--all that work the results of which wuz GIFTED to the world on stage an' in the sin-a-ma, erased to pay lip "soivice" ta woke? Too many've these actors have moved me ta tears, laughter, new feelin's--so I'm peepin' up!
I haven't taken classes there in a cow's age but I did know good folks there--and gen-u-ine audience members with open hearts n' minds! I still went ta some shows there time-to-time, attended some scene studies n' such, know some folks that studied there, so seein' this a-bomb-a'-nation done boils my blood!
Not sure what'll happen to ALL these places that have bowed so low ta pressure they've just about tipped over--just sad ta see GOOD places go out with a Bronx cheer, a whimper, no bang (thou' mebbe some'll come back if sanity returns?!)
kewel!!! Tisch (NYU), Fred Sadoff (he was more method-ish but ecclectic /awesome fella), Bill (William C) Reilly, Bud Beyer (ditto to more method-ish--mean!), David Downs, Eve Shapiro (awesome) + / also some HB classes back in the day an' others 'round town.. I DO have a passle' ve respect fer those that dig inta their own skins, but I felt safer with them magic "ifs" ta keep my sanity!
I had friends who studied with Reilly, Shapiro, and HB... I loved Meisner because of my improv background. And it came in mighty handy later in life, too -- writing plays and reading people 😉
Meanwhile, no one asks our colleagues of color how they’re all suffering from tokenism exhaustion. The pendulum swings from one end to another, razing through anyone who stands in the middle raising their hand in objection. I’m waiting until the industry eats itself and then will try and make a nice meal out of the left overs. And if that time never comes, or if my inspiration never comes, so be it. Let the next generation figure it out.
Yup, I see that--an' I wonder if they do feel a burden, like, as havin' ta "represent" some "awesomeness've" color (which would be unfair / difficult) OR if they take their "upliftin' " as due / in stride? May be on a person-ta-person basis. Like when my younger one was doin' her chorus an' without sayin' a thing, they had the darker skinned fellers n' gals move up front--like ta make sure "diversity" wuz visible (?!) an' I thought what a lotta eww/yuk AND don't those KIDS moved up feel that's weird? My kid did--but she's caught on / seein' this stuff in her own (former) auditions n' gettin' passed up for the diversity stuff. In the chorus it was 'specially odd as some've 'em were taller so now shorter (but paler) kids were behind 'em--used ta go by HEIGHT (I guess that wuz too demo-crat-ick). I dunno... I DO hope the in-dust-ree eats itself--an' if they cook them leftovers I hope it's Meatloaf! (I'd gladly lend a hand in consumin' it). It's sad--it breeds resentment (intent-shun-all?) in all those passed over (I DO wonder how folks like Jack Nicholson--very alive! 'r thinkin' of this "Anniversary" of his actin' alma mater...) AND shoves in a divide--'tween the have / have-nots/have-nuts that ain't purdy. No more kin ya say that color-blind castin' WITH a dose've common sense thrown in wuz good--that talk is "banned" now--why so? ALSO draggin' "token" folks inta shows they'd never audition for an' have no interest in--this was a recent thing too an' many shows suffered sorely fer it--but sssssh! cain't say a word. But yer full'a inspiration so don't worry 'bout that leavin' ya my friend. An' we put out our good hearted efforts--those that earned should be applauded regardless of their "identities." (But I DO think we need ta help that next generation along cuz we KNEW sanity--the real young'uns haven't seen it yet so I we gotta at least git some furniture in the room set-wise an' then let 'em arrange it...) Fingers x'd fer meatloaf!
Well, thanks for lifting me up, Daisy. I guess I can leave my “they got in this mess, let ‘em get out of it’ attitude in the foyer. I have some bitterness lingering in me, trying to squash it with artistic efforts with folks like you, but I suppose, eventually, I gotta go see if I can help the young ones. You have a great attitude and it would appear you’ve taught your daughter well too.
And no, Jack Nicholson came out on his balcony all dishevelled, smelled the bullshit, and walked right back inside.
Why sure ya kin! We all got bitterness (it's justified!) an' just have ta find the sweetness in life--AND other routes-creative-happy kinda like them star-nosed moles that root 'round in the dirt! Between some burned bridges (cuz I opened my big yap when I saw things wuz wrong) an' those that fell much without my help, I don't 'xpect a revival so much as something new ta pop up. Surely Chicago Thee-ate-'er has suffered like New Yawk an' the ghosts 'r in that machine too! Findin' new wayz n' means with what we know--spit n' vinegar--is how we'll set this example fer the kids--in whatever wayz-creative. Sounds like ya did right by your kiddos too--my girls, 'specially my younger'un--STILL have a passle've bitterr herbs ta navigate --it's not that easy (an' these TEEN years are a bear! an' not a dancin' one either!). So every day I just take a lotta deep breaths an' SLOWLY try ta find sprouts in the dirt (up here in boonies it's slower too!) while bitin' my lip not ta let out too much from my pack've Snide -- includin' the Seuss what-wuz-I-skeered've kind!). 'Tain't easy havin' the rug pulled out from under ya I know (an' mine was an old one--no red carpet at'all!)
As fer Jack N.--what a hoot! So funny as I did just post'bout 'im... So he KNEW about the 75th an' also smelled it from afar? HA! Gotta love 'im--if he gave it the proverbial finger it wuz well deserved. He certainly don't bow to woke an' bless 'im fer that!
Okay, here's what I found on the The Actor's Studio website:
"Notable participants in the PDU have included Edward Albee, Tennessee Williams, Norman Mailer, Harold Clurman, Mark Rydell, James Baldwin, Lorraine Hansberry, Terrence McNally, and Arthur Kopit, among many others."
I have no idea whether Hansberry and Baldwin made significant contributions to the artistic life of that place, but they were there, at least according to TAS.
As far as their BIPOC-centric celebration goes, I've accepted that the theatre industry (and just about every other industry, as well) is making this their raison-d'etre. What else can I do? Other than continue to write what I want to write and trust that someday, somewhere, there will be an audience for it.
Though I'll admit... I also harbor a fantasy of writing something entirely heretical and producing it myself. And roping you and Tonika into it somehow...:-)
Yup, they DO mention these deservedly famous folks on their website (the alums ya list) but they were not a part've the 75th Anniversary "Celebration" --notta one've them--an' that's whut sticks in my craw. It's wrong. It mis-portrays the entire history!
OK--this isn't the glowing hist'ry they want folks ta know about but fer the sake've bein' more complete, I'll cover a bit've Baldwin who should not be portrayed so much as a real "collaborator" as (honestly) doin' so'd be "blackwashin' " as his actual very-much-fraught interactions with The Actor's Studio were fairly limited an' not so happy.
So back in 1958 The Actors' Studio (T.A.S.) drafted (with permission) an adaptation for stage of Baldwin's novel "Giovanni's Room" about a blond feller David who has a complex /gay relationship with an Italian man named Giovanni. Baldwin hated "their" version (which was not staged, he just read it in draft form). So he went to some writers' workshop (in New England) an' created his own adaptation an' THEN brought it back to T.A.S. for them to stage "his" version instead of their "approved" version. They begrudgingly acquiesced as his draft was not exactly well-liked. Baldwin, a brilliant writer but a demandin' an' "difficult" type requested that Brando or Monty Cliff or Paul Newman (all Studio Actors) star in the lead role. Instead, however, much to his disappointment a lesser-known actor named Mark Richards was cast as David; Baldwin was (reportedly) not pleased to say the least. However a very handsome an' talented Turkish-American actor Engin Cezzar played the Italian Giovanni (no black/BIPOC characters in the show btw...) and Baldwin was indeed very pleased with this hunky good lookin' performer.
SO.... though no known black actors or writers at the time were part've the studio, T.A.S. was VERY interested in including black talent (not b/c virtue signalin' but as a sincere effort...) so their seeking out the then-popular Baldwin was one effort in that direction.
However, the one-night staged readin' of "Giovanni's Room" (not a public performance) at T.A.S. was a bomb by all accounts, sadly everyone hated it with both lead characters (as written) comin' off as being unlikable. Baldwin was bitter too b/c he felt that IF one of the famous requested actors had been cast as David, THEN the play would have found (at the staged readin') a Broadway backer and would've had a public run. (Did not happen.) Only ONE person--the only other person of color in the audience that night, as it were...said she liked it. That was Lorraine Hansberry, who met Baldwin an' befriended him that very night (they became close buddies fer life, she was a semi-closeted lesbian an' both lived near each other an' had much in common!).
As I said, Baldwin also liked Cezzar's performance SO much he got Cezzar an' Cezzar's wife to stage the show in Istanbul in Turkish! But that one disastrous readin' was the first in-person experience Baldwin had with T.A.S. This was strike 1.
Now Strasberg was just starting "The Playwright's Division" of T.A.S. and had already worked with Norman Mailer, with the latter developin' work in direct collaboration with the actors. Strasberg thought Baldwin might be a fine addition to the new Division (in a paid position too!), but since Baldwin had had no experience with actors so it was decided he'd assist Elia Kazan (not as first AD but as an "assistant" on two plays), one of which was "Sweet Bird of Youth," since Tennessee Williams was also directly collaboratin' with T.A.S. and Baldwin would be able to watch how the playwright worked with the director. HOWEVER, Baldwin hated "assistin' " an' supposedly complained a lot about the experience (esp. about the other show by Archibald McLeish) so he was NOT goin' ta join The Playwrights Division TO collaborate with the group--just not his cuppa tea. I.e., he refused the invite... he did NOT join The Playwrights Division as the others (on my list) had indeed done. This was strike 2!
Now, Lee Strasberg, then head of T.A.S. didn't want ta give up on Baldwin--again, there were no playwrights or others "of color" an' Strasberg DID want to reach out...so one more time he contacted Baldwin.
Thus, a few years later, in 1964, Strasberg commissioned Baldwin ta finish his Emmett Till play, "Blues for Mister Charlie," an' old work-in-progress of Baldwin's. Strasberg felt the play needed to focus on the relationship 'tween black & white folks in a way that was "fair" to both races but Baldwin was goin' thru an especially angry-black-man period an' didn't see eye-to-eye with Strasberg (but he took the money anyway an' delivered the completed play with a dose've vitriol on the side). Baldwin wrote on his own, not working in any direct contact with T.A.S. or the actors (as his assistant-experience was one he cared not ta repeat...).
From all I have read, Baldwin was exceedin'ly bitter about the production. By all accounts (an' reviews as the public could see it...) the so-called collaboration was a disaster and the resulting "piece" was reputed ta stink (The New Yorker's most generous comment was that the piece was "dutiful, turgid, and unconvincing"). Strike 3--he was OUT!
So this is why I'd say Baldwin didn't really work with these folks. He did not every join The Playwrights Division. By contrast, Williams and McNally an others as playwrights worked intensively an' intensely with the actors--things were tweaked, improv'd, explored... wull, ya know how it is, what a JOY it normally is ta work WITH a playwright, right?
So yeah, they didn't pick Baldwin's name outta hat--but this warn't a joy--Baldwin's unhappy an very limited work with T.A.S. was not really an integral part of their 3/4's of a century successful rep., an' I still say ta trot him out (cuz name-famous) like some ol' mare was not true 'er right. (I like Baldwin as an author btw!)
As fer Hansberry, she had been invited to the Baldwin staged-readin' by friends an' as far as I can tell was just an audience member! This was a full year 'fore "Raisin" became famous. (Of note is that her 2nd an' only other known play, "The Sign in Sidney Brustein's Window" is now on B'way in revival (btw Rita Moreno starred in the original b'way version!)... I guess Hansberry's havin' her day now, all good). But 'far as I kin tell--she never did workshop EITHER of her plays at T.A.S. an' just attendin' staged-readin's does not make fer a 75th Anniversary tribute, right? right.
So my "pernt" is that I do resent when something that didn't really happen is portrayed retroactively an' positively as if it were so--when it wasn't!
I don't begrudge anyone their "due" but givin' such a BIPOC "legend" ('specially in place of the real story!) to folks as done here is just a bait'n' switch--kinda like celebratin' Judy Garland's performance in the film've "Annie Get Your Gun" without one mention've Betty Hutton (mind ya, there's footage of Garland who at least DID start the filmin'...so she's got "more" claim to the role than, I'll argue, Taino dancers got claim ta T.A.S.'s 75th!)
Last thought...I'll add that in this black-n'-brown warshin' of his-story, some journalists are also guilty--the re-branding of the history of The Actors' Studio was not (sadly) imagined in a void. It's a sorry sign've the times... (AND the NY Times too!)
So I know this wuz long--thanks fer addin' Arthur Kopit & Mark Rydell--both mahvelous additions. But as ya said SO key-recht-ly Mary, "the theatre industry (and just about every other industry, as well) is making this their raison-d'etre" an' loud-mouthed me is just callin' foul. I WISH some've the livin' actors who were left out would speak up! Mebbe folks are still too afraid'a bein' canceled.
I applaud the effort've T.A.S. reachin' out ta Baldwin at the time--as I wrote, a LOTTA these folks were civil rights activists! (As an aside, I'd say his mortal enemy Langston Hughes would'a been a better choice as an in-house writer as Hughes was know ta be a kind an' thoughtful collaborator in general... also a brilliant gay man-of-color and a POET of course!), but anywayz...
I feel this wuz all done to "wokefry" virch-chew-sic-null... So WHAT ELSE CAN WE DO? We can call out the bullshart! (Or share a nice illustration've it as I do...do...do) And yes, keep writin' an' KNOW you have an audience and some more'll come n' find it. We all gotta keep on speakin' UP an' OUT an' yes...findin' a way to shuck the baloney an' reject the gmo-cookie-cutter meat grinder that now characterizes not just The-Ate-'Er but all the 7 AHRTS!
I would LOVE ta see anythin' heretical ya write an' produce an' would be HONORED MUCHLY! ta join' you an Tonika in the effort. Whoooppe! That's the spirit!
In con-clues-shun, I still would wish that The ActTurdsStoodie-oh would do a redo--they COULD even have it a 76th Yr. proper anniversary an' take time ta plan it! Tho' I haven't stepped foot in there since pre-plandemic, know'in what n' who I do ('er did...) some LOVELY folks connected with the joint once upon, I think there'd be a passle'a patrons an' instructors that WOULD embrace a proper celebration... who might, at least NOW, see thru the vaseline the higher-ups have tried ta schmear on the lookin' glass of their proud past... Meanwhile, many've these "greats" have a legacy on film--so I guess we kin celebrate 'em on celluloid while we wait!
Holy smokes, Daisy... I'm stunned by your thorough and VERY elucidating reply!! Damn, you know a LOT about that place's history and players and social dynamics -- I feel like I've just gotten a huge education. Thank you SO MUCH for taking the time to set the record straight. I understand so much better now why the 75th Bash is so gag-worthy! And it probably shouldn't surprise me. I mean, what else are PR firms for, but to spin tiny threads into thick yarns?? xox
Wull sure, it's facinatin' his'ry too! Most folks not in the biz or related to it really wouldn't care much--but I do cuz it just seems so WRONG / false. Glad ya see it too. An' you know how hard it is on the minds'n hearts of the real "Method" folks! Golly. I recall friends n' fella students leavin' classrooms in tears like the lyric in Chorus Line 'bout the ice cream (hey, that's why I switched ta Meisner!). BUT all them stellar performers--really amazin' people--they worked SO hard (some nearly ended up the Cukoo's Nest doin' it!) an' instead they replace all that?! Really?!--all that work the results of which wuz GIFTED to the world on stage an' in the sin-a-ma, erased to pay lip "soivice" ta woke? Too many've these actors have moved me ta tears, laughter, new feelin's--so I'm peepin' up!
I haven't taken classes there in a cow's age but I did know good folks there--and gen-u-ine audience members with open hearts n' minds! I still went ta some shows there time-to-time, attended some scene studies n' such, know some folks that studied there, so seein' this a-bomb-a'-nation done boils my blood!
Not sure what'll happen to ALL these places that have bowed so low ta pressure they've just about tipped over--just sad ta see GOOD places go out with a Bronx cheer, a whimper, no bang (thou' mebbe some'll come back if sanity returns?!)
IF only them walls could talk!!!!
If only they could!!
Hey, I'm a Meisner gal myself! William Esper Studio, to be exact. You?
kewel!!! Tisch (NYU), Fred Sadoff (he was more method-ish but ecclectic /awesome fella), Bill (William C) Reilly, Bud Beyer (ditto to more method-ish--mean!), David Downs, Eve Shapiro (awesome) + / also some HB classes back in the day an' others 'round town.. I DO have a passle' ve respect fer those that dig inta their own skins, but I felt safer with them magic "ifs" ta keep my sanity!
I had friends who studied with Reilly, Shapiro, and HB... I loved Meisner because of my improv background. And it came in mighty handy later in life, too -- writing plays and reading people 😉