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A:%~rѵ0##'P l+cO)3yC:dz[,W!m['$it}͉B}oDЦ!jK]`x6"/ ɇ rEX_>!D\Ӹ}B-HiP0(CAD,z //p~ϣL2 "ν>+q@Le~,~\lJ7?4*Qv-)lrDNTYwZf oM | Oyr?F164ml=$LʨϵeSČkף#UV7%؎\ᚿU͟ûQfS764%~:`M0快,dDѣھ`@7CmVOrفW 00:11:48,908 the American National Theater and Academy based at the Hudson Theater. 213 00:11:48,908 --> 00:11:50,910 Later, he worked on ANTA productions 214 00:11:50,910 --> 00:11:54,280 at the Maxine Elliott Theater on West 39th Street. 215 00:11:54,280 --> 00:11:58,384 They included the historical drama Galileo, with Charles Laughton 216 00:11:58,384 --> 00:12:00,253 and the play Skipper Next to God 217 00:12:00,253 --> 00:12:03,990 with stage and screen star, John Garfield. 218 00:12:03,990 --> 00:12:07,193 Leonard also took on a few small roles as an actor 219 00:12:07,193 --> 00:12:10,964 but found his true calling backstage. 220 00:12:10,964 --> 00:12:14,267 They came to me and said, "We need an assistant stage manager. 221 00:12:14,267 --> 00:12:15,868 "Do you wanna do the job?" 222 00:12:15,868 --> 00:12:17,403 I said, "Well, what's in it for me?" 223 00:12:17,403 --> 00:12:20,340 And they said, "Well, it's another five dollars a week." 224 00:12:20,340 --> 00:12:22,175 I said, "Okay, I'll do it." 225 00:12:22,175 --> 00:12:26,846 The stage manager takes less shit from the producer than the actors get. 226 00:12:29,482 --> 00:12:32,385 I was offered a job as stage manager 227 00:12:32,385 --> 00:12:36,322 for the Chicago Fair of 1950. It was in a tent. 228 00:12:37,223 --> 00:12:39,058 And I met my wife there. 229 00:12:39,058 --> 00:12:42,328 She was the star of the show, Betty Gillett. 230 00:12:42,328 --> 00:12:45,999 We went to Stony Brook, Long Island, where we got married. 231 00:12:45,999 --> 00:12:49,502 And eventually, Betty came back to Cleveland with me 232 00:12:49,502 --> 00:12:52,038 to meet my father and my grandmother. 233 00:12:53,840 --> 00:12:55,241 Betty was absolutely gorgeous. 234 00:12:55,241 --> 00:13:00,079 She was in South Pacific, playing one of the nurses. 235 00:13:00,079 --> 00:13:03,282 She got a job for Drene Shampoo. 236 00:13:03,282 --> 00:13:07,320 And Betty was on billboards all over the country 237 00:13:07,320 --> 00:13:08,655 and in magazines. 238 00:13:08,655 --> 00:13:12,525 And it said, "Betty Gillett, rising star of Broadway 239 00:13:12,525 --> 00:13:14,861 "and Hollywood uses Drene Shampoo." 240 00:13:15,361 --> 00:13:17,897 And actually, she 241 00:13:17,897 --> 00:13:20,500 brought up the gay thing before I did. 242 00:13:20,500 --> 00:13:25,071 I was working at a theater on Sixth Avenue, a small theater 243 00:13:25,071 --> 00:13:29,475 and the guy I was working with was one of the most beautiful men 244 00:13:29,475 --> 00:13:32,211 I had ever seen in my life. 245 00:13:32,211 --> 00:13:34,614 So, Betty and I were walking down the street one day, 246 00:13:34,614 --> 00:13:39,552 and I said to her that I think you're attracted to him, 247 00:13:39,552 --> 00:13:42,622 and she stopped on the street and said, 248 00:13:42,622 --> 00:13:44,624 "The only reason you would think that 249 00:13:44,624 --> 00:13:46,859 "is if you're attracted to him." 250 00:13:47,393 --> 00:13:49,829 She said, "Because I am not." 251 00:13:51,631 --> 00:13:55,568 So we decided, you know, it wasn't gonna work. 252 00:13:55,568 --> 00:14:01,340 And then, when we divorced my mother said, "What did you do wrong?" 253 00:14:01,340 --> 00:14:05,078 NARRATOR: In 1958, Leonard was hired as business manager 254 00:14:05,078 --> 00:14:09,182 on an off-Broadway production called Ulysses in Nighttown. 255 00:14:09,182 --> 00:14:11,117 Based on a book by James Joyce, 256 00:14:11,117 --> 00:14:14,287 it starred gifted comic, actor Zero Mostel. 257 00:14:14,287 --> 00:14:15,655 SOLOWAY: The show was a huge hit. 258 00:14:15,655 --> 00:14:18,658 It was one of the first really big off-Broadway hits. 259 00:14:18,658 --> 00:14:21,227 The beginning of off-Broadway theater. 260 00:14:22,929 --> 00:14:24,697 NARRATOR: Leonard moved up the ladder quickly 261 00:14:24,697 --> 00:14:26,532 and he was always in demand. 262 00:14:26,532 --> 00:14:30,136 SOLOWAY: I was managing five or six shows at the same time. 263 00:14:30,136 --> 00:14:33,439 I would nap in a cab going from one theater to the other. 264 00:14:33,439 --> 00:14:36,509 On a Saturday, I'd have a performance at 2:00 p.m., 265 00:14:36,509 --> 00:14:38,377 3:00 p.m., 4:00 p.m., 266 00:14:38,377 --> 00:14:41,481 6:00 p.m., 7:00 p.m., 9:00 p.m., 10:00 p.m. 267 00:14:42,415 --> 00:14:43,649 I worked seven days a week 268 00:14:43,649 --> 00:14:47,086 from morning until, like, 11 o'clock at night. 269 00:14:47,086 --> 00:14:50,456 And I was making thousands of dollars a week. 270 00:14:50,456 --> 00:14:54,293 NARRATOR: Leonard's social life also began revolving around the theater. 271 00:14:54,293 --> 00:14:57,663 His new friends all had their names up in lights. 272 00:14:57,663 --> 00:14:59,499 I was with a friend of mine 273 00:14:59,499 --> 00:15:03,169 and the intercom rang at like one in the morning 274 00:15:03,169 --> 00:15:05,404 and she came back from the intercom 275 00:15:05,404 --> 00:15:08,541 and said, "Oh, it's Elaine Stritch and Ben Gazzara. 276 00:15:08,541 --> 00:15:10,309 And I was a kid, and I thought, "Oh, wow. 277 00:15:10,309 --> 00:15:12,178 "Elaine Stritch and Ben Gazzara." 278 00:15:12,178 --> 00:15:15,348 The hostess said to Elaine, "Would you like a drink?" 279 00:15:15,348 --> 00:15:17,416 And Elaine said, "Yes, I would, thank you." 280 00:15:17,416 --> 00:15:21,687 She opens her purse, takes out a bottle of Scotch and a glass, 281 00:15:21,687 --> 00:15:24,190 and pours herself a drink. 282 00:15:24,190 --> 00:15:26,993 We used to send telegrams to people on opening nights 283 00:15:26,993 --> 00:15:30,062 saying, "Have a good opening. Remember, nothing depends on tonight 284 00:15:30,062 --> 00:15:32,398 "except your entire career." 285 00:15:32,398 --> 00:15:35,468 So I sent it to her when she opened in Goldilocks 286 00:15:35,468 --> 00:15:38,404 and she said, "How dare you send me that?" 287 00:15:38,404 --> 00:15:41,107 And so she didn't talk to me for three months. 288 00:15:43,609 --> 00:15:44,777 Hello? 289 00:15:51,217 --> 00:15:55,021 That was my travel agent calling to wish me happy birthday. 290 00:15:55,021 --> 00:15:56,455 WOLK: Your travel agent? 291 00:15:57,623 --> 00:16:00,760 So, just before I forget, I just wanna write this down 292 00:16:00,760 --> 00:16:03,262 That play is called Tapping Through Life? 293 00:16:03,262 --> 00:16:08,067 -Tappin'. T-A-P-P-I-N with an apostrophe. -T-A-P-P-I-N. 294 00:16:08,067 --> 00:16:10,336 -Tappin' Through Life. -Life. 295 00:16:10,336 --> 00:16:12,371 T-H-R-U. 296 00:16:12,371 --> 00:16:15,208 Okay. And can you just tell me a quick... 297 00:16:15,208 --> 00:16:18,578 It would be in September in Wilmington. 298 00:16:18,578 --> 00:16:21,647 I just wanted to make a few notes 'cause I wanna... 299 00:16:21,647 --> 00:16:25,651 And my 20,000 would be the sort of seed money or something? 300 00:16:25,651 --> 00:16:27,653 SOLOWAY: It'd be front money. 301 00:16:27,653 --> 00:16:29,388 If the show goes through. 302 00:16:29,388 --> 00:16:32,625 Would I be like an executive producer of that... 303 00:16:32,625 --> 00:16:35,294 Well, it'll be presented by, 304 00:16:35,294 --> 00:16:39,799 by arrangement of Leonard Soloway and Jeff Wolk. 305 00:16:39,799 --> 00:16:42,201 WOLK: Okay. Okay. 306 00:16:42,201 --> 00:16:45,805 And then, if we move to Broadway or go on the road, 307 00:16:45,805 --> 00:16:47,273 which I hope we will, 308 00:16:47,273 --> 00:16:50,810 it'll be like a $40,000 investment. 309 00:16:50,810 --> 00:16:52,478 It's a wonderful show. 310 00:17:05,157 --> 00:17:07,293 Well, hello, Wilmington. 311 00:17:08,694 --> 00:17:10,396 NARRATOR: As he turned 30, 312 00:17:10,396 --> 00:17:14,467 Leonard Soloway would encounter one of the most powerful forces in the New York theater, 313 00:17:14,467 --> 00:17:15,635 the unions. 314 00:17:15,635 --> 00:17:17,536 I was in the box office one day 315 00:17:17,536 --> 00:17:21,474 and this guy in a suit and a hat arrives and says, 316 00:17:21,474 --> 00:17:23,809 "You can't work here unless you're in the union." 317 00:17:23,809 --> 00:17:25,578 And I said, "Well, how do I do that?" 318 00:17:25,578 --> 00:17:28,447 He said, "Well, you have to apprentice to somebody." 319 00:17:28,447 --> 00:17:32,585 So, fortunately, they sent along a guy named Richard Horner 320 00:17:32,585 --> 00:17:34,820 and I was his assistant. 321 00:17:34,820 --> 00:17:37,857 Richard was hired by Lester Osterman. 322 00:17:37,857 --> 00:17:41,527 NARRATOR: Lester Osterman would soon be one of Broadway's top producers 323 00:17:41,527 --> 00:17:45,865 and Leonard was taken along by Richard Horner to join the Osterman team. 324 00:17:45,865 --> 00:17:49,635 It was fine, except I was making $85 a week, 325 00:17:49,635 --> 00:17:54,473 as opposed to all that money I was used to making. 326 00:17:54,473 --> 00:17:57,910 And then, the magical thing happened. 327 00:17:57,910 --> 00:18:00,579 How to Succeed in Business was previewing 328 00:18:00,579 --> 00:18:04,884 at the 46th Street Theater which is now the Richard Rodgers. 329 00:18:04,884 --> 00:18:08,387 And Ernie Martin, who was the co-producer 330 00:18:08,387 --> 00:18:11,357 was smoking a cigar in the lobby during the show. 331 00:18:11,357 --> 00:18:13,392 Which you were allowed to do in those days. 332 00:18:13,392 --> 00:18:16,262 But somehow, we got into a confrontation 333 00:18:16,262 --> 00:18:19,231 with this idiot's house manager. 334 00:18:19,231 --> 00:18:21,167 So Ernie called Lester at home 335 00:18:21,167 --> 00:18:23,569 and said, "I want this guy fired." 336 00:18:23,569 --> 00:18:27,373 And Lester said, "Okay, and he called me and he said, 337 00:18:27,373 --> 00:18:29,809 "On Monday, you're going to the 46th Street Theater, 338 00:18:29,809 --> 00:18:31,711 you're gonna be the house manager. 339 00:18:31,711 --> 00:18:33,379 Well, I loved it. 340 00:18:33,379 --> 00:18:37,383 Now I had to get a real salary because I was 341 00:18:37,383 --> 00:18:40,820 the house manager and the union couldn't say no. 342 00:18:40,820 --> 00:18:43,322 NARRATOR: How to Succeed in Business Without Really Trying 343 00:18:43,322 --> 00:18:45,057 became the must see Broadway show. 344 00:18:45,057 --> 00:18:49,428 and was greeted by the entertainment community with great fanfare. 345 00:18:49,428 --> 00:18:51,964 The musical would go on to win seven Tony Awards, 346 00:18:51,964 --> 00:18:56,302 including one for its outstanding lead actor, Robert Morse. 347 00:18:56,302 --> 00:19:00,339 SOLOWAY: How to Succeed got rave notices when it opened. 348 00:19:00,339 --> 00:19:03,743 There was a line to Eighth Avenue every morning. 349 00:19:03,743 --> 00:19:07,413 The producers never took an ad in The Times. 350 00:19:07,413 --> 00:19:11,417 For one year, there was no publicity 351 00:19:11,417 --> 00:19:13,853 on the show, and it sold out and sold out. 352 00:19:13,853 --> 00:19:16,355 And then, we got the note that 353 00:19:16,355 --> 00:19:18,824 the President was coming. 354 00:19:18,824 --> 00:19:22,662 There were six secret service guys and they were all 355 00:19:22,662 --> 00:19:25,264 movie-star grade looking. 356 00:19:26,298 --> 00:19:28,501 And one of the guys, uh, 357 00:19:28,501 --> 00:19:31,837 came and sat with me in my office during the show. 358 00:19:31,837 --> 00:19:33,673 And... 359 00:19:33,673 --> 00:19:38,477 We ended up having an affair that lasted for about six months. 360 00:19:40,012 --> 00:19:43,449 ♪ Everyday I have the blues ♪ 361 00:19:43,449 --> 00:19:45,284 NARRATOR: At the Delaware Theater Company, 362 00:19:45,284 --> 00:19:46,819 Leonard's production of Tappin' Thru Life 363 00:19:46,819 --> 00:19:50,322 was still working out creative issues in its try out. 364 00:19:51,424 --> 00:19:53,459 ♪ Speaking of hard luck and trouble ♪ 365 00:19:55,661 --> 00:19:58,931 Listen, do you like that fog that comes in? 366 00:19:58,931 --> 00:20:00,366 I noticed it tonight for the first time. 367 00:20:00,366 --> 00:20:02,001 -I don't like the fog. -I don't either. 368 00:20:02,001 --> 00:20:03,135 I want to cut it. 369 00:20:03,135 --> 00:20:05,471 -Can you tell somebody? -I'm gonna do it right now. 370 00:20:05,471 --> 00:20:07,306 You tell them now and it's bad for my throat. 371 00:20:07,306 --> 00:20:08,674 I wanna cut the fog. 372 00:20:08,674 --> 00:20:10,710 -Somebody turned it on. -I'm happy to take it out. 373 00:20:10,710 --> 00:20:12,978 Jeff pleaded with me to do it, so we do it. 374 00:20:12,978 --> 00:20:14,814 -Take it out. -No, I had a big thing with him. 375 00:20:14,814 --> 00:20:16,649 Well, tonight, because it was bothering my throat. 376 00:20:16,649 --> 00:20:17,583 -Really. -I could hear. 377 00:20:17,583 --> 00:20:18,751 It was the first time I'd ever seen it. 378 00:20:18,751 --> 00:20:21,020 -I said, "What is all this smoke here?" 379 00:20:21,020 --> 00:20:22,922 I know I'm hot but this is ridiculous. 380 00:20:25,791 --> 00:20:28,494 NARRATOR: One fiery actor who almost stopped a show 381 00:20:28,494 --> 00:20:32,031 was Oscar winner and Broadway star, Shelley Winters. 382 00:20:32,031 --> 00:20:37,269 She was playing the lead in Saul Bellow's 1966 comedy, Under the Weather. 383 00:20:37,937 --> 00:20:41,040 SOLOWAY: Finally, at about 8:10, 384 00:20:41,040 --> 00:20:43,509 she still hadn't been there. 385 00:20:43,509 --> 00:20:46,045 So I told the understudy to go on. 386 00:20:46,045 --> 00:20:49,715 So around about 8:20 I hear this scream. 387 00:20:49,715 --> 00:20:53,919 She's running down the hallway lane, "Stop the show! Stop the show!" 388 00:20:53,919 --> 00:20:55,888 So I grabbed her, I said, "Shut up. 389 00:20:55,888 --> 00:20:57,356 "We're finishing the first act." 390 00:20:57,356 --> 00:21:00,526 She said, "No, you gotta stop it. We'll start over." 391 00:21:00,526 --> 00:21:02,728 I said, "No. You can do the second half, 392 00:21:02,728 --> 00:21:05,664 "but until then, just go to your dressing room." 393 00:21:05,664 --> 00:21:08,467 So that's what happened, but she was screaming. 394 00:21:08,467 --> 00:21:10,669 "Stop the fucking show!" 395 00:21:16,542 --> 00:21:19,945 Um, I just saw something very interesting about a computer. 396 00:21:19,945 --> 00:21:21,180 -Okay? -What? 397 00:21:21,180 --> 00:21:22,381 When you're typing a word and you don't know how to spell it, 398 00:21:22,381 --> 00:21:25,718 you spell it out and then, if you right-click on the word 399 00:21:25,718 --> 00:21:28,754 it gives you all the suggestions of how to spell it correctly. 400 00:21:28,754 --> 00:21:31,590 I'm saying, how do you spell glamorous? And you just right-click on it. 401 00:21:31,590 --> 00:21:32,791 O-U-R. 402 00:21:33,959 --> 00:21:37,396 G-L-A-M-O-R-O-U-S. Glamorous. 403 00:21:37,396 --> 00:21:39,131 There's no U there. 404 00:21:39,131 --> 00:21:40,799 Little facts you can use. 405 00:21:43,402 --> 00:21:44,637 NARRATOR: During the early 1960s, 406 00:21:44,637 --> 00:21:48,440 Leonard began working on productions in Canada. 407 00:21:48,440 --> 00:21:49,875 At the O'Keefe Center in Toronto, 408 00:21:49,875 --> 00:21:54,413 he produced a revival of the popular musical South Pacific. 409 00:21:54,413 --> 00:21:57,983 SOLOWAY: The O'Keefe Center has over 3,000 seats. 410 00:21:57,983 --> 00:22:01,587 And I wanted to do it with Joe Layton directing it. 411 00:22:01,587 --> 00:22:04,356 Joe was a very hot director. 412 00:22:04,890 --> 00:22:06,792 So we went to Toronto, 413 00:22:06,792 --> 00:22:09,428 and he said, "I can't do the show here. 414 00:22:09,428 --> 00:22:11,597 "The orchestra pit is so big 415 00:22:11,597 --> 00:22:14,867 "that the first row is a mile from the stage." 416 00:22:14,867 --> 00:22:18,771 I said, "All right. The orchestra pit is on an elevator. 417 00:22:18,771 --> 00:22:21,840 "I intend to bring the orchestra pit up to stage level. 418 00:22:21,840 --> 00:22:24,543 "Put the show on the orchestra pit. 419 00:22:24,543 --> 00:22:27,846 "Put the band behind a curtain on the stage." 420 00:22:27,846 --> 00:22:30,549 He said, "You can't do that. Nobody's ever done that." 421 00:22:30,549 --> 00:22:33,452 I said, "Yeah, but we can do it." 422 00:22:33,452 --> 00:22:36,956 And then it started this whole new thing on Broadway. 423 00:22:36,956 --> 00:22:42,661 And to this day there are some musicals where the band isn't even in the theater. 424 00:22:42,661 --> 00:22:45,431 NARRATOR: It was in Canada that Leonard first connected 425 00:22:45,431 --> 00:22:48,067 with up and coming producer, Manny Azenberg. 426 00:22:48,067 --> 00:22:51,937 AZENBERG: I was the company manager of the O'Keefe Center in Toronto. 427 00:22:51,937 --> 00:22:55,207 And Leonard was touring with Carol Channing's 428 00:22:55,207 --> 00:22:58,544 one-woman show called Show Girl. 429 00:22:58,544 --> 00:23:01,480 That's when I met him. We, sort of, became friends. 430 00:23:01,480 --> 00:23:04,850 We were relatively... He's older than I am. 431 00:23:05,885 --> 00:23:08,153 And more goyish than you. 432 00:23:08,153 --> 00:23:09,989 -No, he's... -He's more assimilated. 433 00:23:09,989 --> 00:23:14,193 Soloway becomes Soloway chicken about eight seconds, you know. 434 00:23:14,193 --> 00:23:15,527 He didn't run away. 435 00:23:15,527 --> 00:23:16,528 One thing about Leonard, 436 00:23:16,528 --> 00:23:19,798 -he never ran away from any identity. -No. 437 00:23:19,798 --> 00:23:23,969 Leonard was gay Jewish before anybody was gay in Jewish. 438 00:23:23,969 --> 00:23:27,873 SOLOWAY: So Carol and I became friendly and then she did a one-woman show 439 00:23:28,507 --> 00:23:30,576 which I managed. 440 00:23:30,576 --> 00:23:35,147 And Liberace was playing at the hotel 441 00:23:35,147 --> 00:23:38,550 And, he... Of course, he knew Carol 442 00:23:38,550 --> 00:23:41,153 so Liberace and I became friendly. 443 00:23:41,153 --> 00:23:44,657 And it was my first experience with somebody 444 00:23:44,657 --> 00:23:47,192 who was so completely theatrical. 445 00:23:47,192 --> 00:23:49,595 You know, he had a long dressing gown 446 00:23:49,595 --> 00:23:52,698 and was obviously gay and I liked him. 447 00:23:52,698 --> 00:23:55,834 He really was a nice guy. 448 00:23:55,834 --> 00:23:58,270 He had all day welcoming 449 00:23:58,270 --> 00:24:00,806 for whoever wanted to come up. 450 00:24:00,806 --> 00:24:03,575 There was food there and liquor, whatever you wanted. 451 00:24:03,575 --> 00:24:05,778 He also had four beautiful men 452 00:24:05,778 --> 00:24:08,013 that anybody could also have. 453 00:24:08,013 --> 00:24:10,949 And every other day two of the men would go 454 00:24:10,949 --> 00:24:12,985 and two new ones would arrive. 455 00:24:15,054 --> 00:24:17,856 We used to go to gay bars and people would go, 456 00:24:17,856 --> 00:24:21,694 "Is that Carol Channing? What would she be doing at a gay bar?" 457 00:24:23,595 --> 00:24:27,633 We were going to drive back from some place in Pennsylvania. 458 00:24:27,633 --> 00:24:31,003 So one of the stagehands said, "Listen, there's a shortcut." 459 00:24:31,003 --> 00:24:34,973 You go this way, he goes, "Well, you know me, I have no sense of direction whatsoever." 460 00:24:34,973 --> 00:24:39,945 So we're driving along the road, it gets narrower and it's more country. 461 00:24:39,945 --> 00:24:42,948 And, finally, I didn't know where the fuck I was. 462 00:24:42,948 --> 00:24:46,752 Then I saw a state police phone, so I pick it up and then I said, 463 00:24:46,752 --> 00:24:48,253 "I don't know where I am. I'm lost." 464 00:24:48,253 --> 00:24:51,890 Then he said, "There's a number there, tell me what it is?" 465 00:24:51,890 --> 00:24:54,593 So I did and he said, "Where do you think you are?" 466 00:24:54,593 --> 00:24:58,030 I said, "I think I'm in the north eastern corner of Maryland." 467 00:24:58,030 --> 00:25:01,734 He said, "You're in the north western corner of Maryland." 468 00:25:01,734 --> 00:25:04,770 We didn't get to New York till five in the morning. 469 00:25:04,770 --> 00:25:08,040 Her husband was hysterical. 470 00:25:08,040 --> 00:25:12,611 NARRATOR: In 1966 Leonard joined forces with Manny in New York. 471 00:25:12,611 --> 00:25:15,080 It would take some luck for them to succeed. 472 00:25:15,080 --> 00:25:18,050 But then one day, luck walked in the door. 473 00:25:18,050 --> 00:25:20,319 SOLOWAY: He knew Hal Holbrook very well. 474 00:25:20,319 --> 00:25:22,121 Hal Holbrook was a friend. 475 00:25:22,121 --> 00:25:26,625 He came into the office one day and he said, "What are you going to do? 476 00:25:26,625 --> 00:25:28,827 "Why don't you do me?" 477 00:25:28,827 --> 00:25:33,265 And in those days we did a budget, $35,000. 478 00:25:33,265 --> 00:25:36,268 And we didn't have $35,000. We borrowed it. 479 00:25:36,268 --> 00:25:39,138 I came by railroad. 480 00:25:39,138 --> 00:25:43,208 It's one of those trains that gets tired every seven minutes. 481 00:25:44,376 --> 00:25:48,147 It has to stop and rest for three quarters of an hour. 482 00:25:50,649 --> 00:25:54,119 One of the passengers advised the conductor 483 00:25:54,119 --> 00:25:58,724 to take the cowcatcher off the front end and put it on the rear. 484 00:26:01,193 --> 00:26:02,828 Because at the rate we were going, 485 00:26:02,828 --> 00:26:05,164 we were not going to catch any cows. 486 00:26:07,666 --> 00:26:09,368 SOLOWAY: We had no money. 487 00:26:09,368 --> 00:26:12,938 We did the advertising on credit. 488 00:26:12,938 --> 00:26:17,976 And if the show had not made it, we would've been in a shitload of trouble. 489 00:26:17,976 --> 00:26:20,913 But it just got sensational notices. 490 00:26:20,913 --> 00:26:24,116 I was running into people on the streets who would say, 491 00:26:24,116 --> 00:26:26,985 "Why didn't you call me? I would've invested in the show." 492 00:26:26,985 --> 00:26:30,989 And I said, "I did call you, and you turned it down." 493 00:26:30,989 --> 00:26:34,193 But we weren't smart enough to do a contract with him 494 00:26:34,193 --> 00:26:39,598 that allowed us to share in that after it closed on Broadway. 495 00:26:40,799 --> 00:26:43,702 So he was doing it every year somewhere, 496 00:26:43,702 --> 00:26:47,072 but we never got any money from it. 497 00:26:47,072 --> 00:26:51,343 But listen, it was great for our careers to get going that way. 498 00:26:53,312 --> 00:26:55,948 NARRATOR: Leonard and Manny later traveled to London 499 00:26:55,948 --> 00:27:00,385 to work on the production of a play called Word War Two and a Half. 500 00:27:00,385 --> 00:27:03,422 AZENBERG: So Leonard and I were in London. 501 00:27:03,422 --> 00:27:06,758 Certainly, my first trip to London. And I think it was Leonard's as well. 502 00:27:06,758 --> 00:27:08,193 And we were doing everything we... 503 00:27:09,294 --> 00:27:11,630 British. Tea... 504 00:27:12,731 --> 00:27:14,766 Little bit of pretense. 505 00:27:14,766 --> 00:27:16,101 NARRATOR: One night after the theater, 506 00:27:16,101 --> 00:27:18,770 they were having drinks at the Grosvenor House Hotel 507 00:27:18,770 --> 00:27:22,441 with Leonard's good friend, British actress Adrienne Corri. 508 00:27:22,441 --> 00:27:24,142 AZENBERG: And in the lobby 509 00:27:24,142 --> 00:27:27,946 there was an argument going on between a Sheikh and a civilian. 510 00:27:27,946 --> 00:27:31,350 And it was a very noisy argument. 511 00:27:31,350 --> 00:27:36,054 And the guy that was arguing with the Sheikh had a German accent. 512 00:27:36,054 --> 00:27:39,825 The Sheikh leaves and this guy who's drunk 513 00:27:39,825 --> 00:27:42,995 comes over to us and he says, 514 00:27:42,995 --> 00:27:45,764 "You're American. Yes?" 515 00:27:45,764 --> 00:27:48,367 And we're sort of taken aback. 516 00:27:48,367 --> 00:27:51,803 And he says, "What are you doing here?" 517 00:27:51,803 --> 00:27:54,206 And we said, "Well, we work in the theater." 518 00:27:54,206 --> 00:27:58,076 He says, "Well, I was a flyer in the Luftwaffe, 519 00:27:58,076 --> 00:27:59,945 but we had no petrol. 520 00:27:59,945 --> 00:28:01,813 So I became a paratrooper." 521 00:28:01,813 --> 00:28:03,448 I remember Manny. We were like... 522 00:28:03,448 --> 00:28:06,718 He jumped to save Mussolini. 523 00:28:08,353 --> 00:28:10,322 You can't make this story up. 524 00:28:10,322 --> 00:28:12,424 And we're sitting there dumbfounded. 525 00:28:12,424 --> 00:28:16,295 And he concludes by, 526 00:28:16,295 --> 00:28:19,698 "And now I'm an investor in the New York Theater." 527 00:28:20,799 --> 00:28:25,103 So Leonard said, "What show did you invest in?" 528 00:28:25,103 --> 00:28:27,172 He says, 529 00:28:29,808 --> 00:28:31,310 It really happened. 530 00:28:35,280 --> 00:28:39,217 NARRATOR: In Delaware, Leonard's instincts about Tappin' Thru Life 531 00:28:39,217 --> 00:28:40,986 seemed to be paying off. 532 00:28:45,524 --> 00:28:48,894 We usually see or read every show we book. 533 00:28:48,894 --> 00:28:52,264 So, therefore, we went down to Delaware to see the show. 534 00:28:53,298 --> 00:28:56,201 Then Leonard said he was going to proceed with it. 535 00:28:56,201 --> 00:28:58,070 And he asked us if we would 536 00:28:58,070 --> 00:29:00,906 be an investor in the show and we agreed. 537 00:29:06,144 --> 00:29:11,516 So we were wearing two hats, theater owner and as an investor. 538 00:29:11,516 --> 00:29:14,886 NARRATOR: That investment propelled Tappin' Thru Life to New York, 539 00:29:14,886 --> 00:29:16,488 but not to Broadway. 540 00:29:16,488 --> 00:29:19,358 Instead, it moved into New World Stages 541 00:29:19,358 --> 00:29:20,826 and off-Broadway venue, 542 00:29:20,826 --> 00:29:22,494 owned by The Shubert Organization. 543 00:29:22,494 --> 00:29:26,398 WANKEL: If someone doesn't drive the ship, it will never happen. 544 00:29:26,398 --> 00:29:29,601 It was really Leonard's drive to bring it to New York. 545 00:29:29,601 --> 00:29:31,903 Maurice certainly wanted to come to New York. 546 00:29:31,903 --> 00:29:33,505 Everybody wants to come to New York. 547 00:29:33,505 --> 00:29:37,476 You made all this possible. Stand up so that I can give you a hug for that. 548 00:29:37,476 --> 00:29:40,879 -You know... Oh... 549 00:29:42,147 --> 00:29:45,417 EVANS: Leonard knows exactly how to handle stars. 550 00:29:45,417 --> 00:29:47,886 Even Marlene Dietrich. 551 00:29:47,886 --> 00:29:51,923 He managed her last one-woman show. 552 00:29:53,325 --> 00:29:56,128 SOLOWAY: Burt Bacharach, the famous song writer. 553 00:29:56,128 --> 00:29:59,097 He was the conductor for Marlene Dietrich. 554 00:29:59,097 --> 00:30:02,501 when she did her one-woman show at the Lunt-Fontanne, 555 00:30:02,501 --> 00:30:05,103 and I was the house manager. 556 00:30:05,103 --> 00:30:08,974 And I got a call one Saturday morning from the porter, 557 00:30:08,974 --> 00:30:11,476 who said, "Miss Dietrich is here. 558 00:30:11,476 --> 00:30:15,247 "And she would like to see you." It was eight in the morning. 559 00:30:15,247 --> 00:30:19,151 So I threw on some clothes, I ran down the theater and she says, 560 00:30:19,151 --> 00:30:22,287 "I need to get my dressing room painted." 561 00:30:22,287 --> 00:30:24,956 I said, "Well, it's going to be painted Monday morning." 562 00:30:24,956 --> 00:30:26,958 She said, "No, no, no. 563 00:30:26,958 --> 00:30:30,395 "I'm opening Monday night. I need it painted today." 564 00:30:30,395 --> 00:30:34,366 I said, "Well, I don't know if I can find anybody to paint it." 565 00:30:34,366 --> 00:30:38,103 She said, "No, no. Just get me the paint. I'll paint it." 566 00:30:38,103 --> 00:30:42,174 She climbed up on a ladder with some kind of disinfectant 567 00:30:42,174 --> 00:30:45,911 over the walls and the ceiling. And then she painted the fucking thing. 568 00:30:47,045 --> 00:30:49,648 Everybody in the world came and said hello to her, 569 00:30:49,648 --> 00:30:53,485 but nobody ever asked her to go out for a drink or for supper. 570 00:30:53,485 --> 00:30:58,256 And I think they just figured that she was busy all the time. 571 00:30:58,256 --> 00:31:02,227 So she and I and the company manager would go to Sardi's. 572 00:31:02,227 --> 00:31:05,897 And every matinee day, she would bring food for the band 573 00:31:06,565 --> 00:31:08,533 which she cooked. 574 00:31:08,533 --> 00:31:11,269 Dietrich was amazing. 575 00:31:11,269 --> 00:31:14,306 She had a twenty-minute curtain call. Twenty minutes. 576 00:31:15,674 --> 00:31:17,676 And then she hired somebody 577 00:31:17,676 --> 00:31:21,246 to always come down and throw roses at her feet 578 00:31:21,246 --> 00:31:23,014 at the curtain call. 579 00:31:23,014 --> 00:31:25,083 And everybody said to me, 580 00:31:25,083 --> 00:31:28,019 "That can't be her figure in that dress." 581 00:31:28,019 --> 00:31:30,622 It was all her underneath. 582 00:31:30,622 --> 00:31:32,991 And it was all real at her age. 583 00:31:32,991 --> 00:31:38,363 ♪ I can't give you anything But love 584 00:31:40,565 --> 00:31:43,168 ♪ But love 585 00:31:44,636 --> 00:31:47,005 ♪ But love ♪ 586 00:31:54,679 --> 00:31:56,281 DRASNER: Okay. 587 00:31:56,982 --> 00:31:59,718 I don't need... 588 00:31:59,718 --> 00:32:02,454 Okay. No problem. 589 00:32:02,454 --> 00:32:07,058 Thank you, sir. Thank you. Talk to you soon. Bye. 590 00:32:07,058 --> 00:32:09,628 -He's so cute. -So what's the problem with Jeff? 591 00:32:09,628 --> 00:32:14,166 He feels that because they're coming, you know, after... 592 00:32:14,166 --> 00:32:16,168 From two days off onto a matinee. 593 00:32:16,168 --> 00:32:18,236 We don't have to give a shit about the matinee. 594 00:32:18,236 --> 00:32:20,639 All right. Well, then there's nothing I can do. 595 00:32:20,639 --> 00:32:21,706 That was what... I said I would check. 596 00:32:21,706 --> 00:32:24,609 Well, he can rehearse on Tuesday if he wants to. 597 00:32:24,609 --> 00:32:27,379 Oh, all right. But why don't you give a shit about the matinee? 598 00:32:27,379 --> 00:32:30,081 -What? -It's our opening performance, that's why he wants it to be... 599 00:32:30,081 --> 00:32:31,516 Well, it's a matinee. 600 00:32:31,516 --> 00:32:34,286 -Who the fuck do you think is going to be there? -I know. Shh, shh. 601 00:32:34,286 --> 00:32:36,688 They've been doing the show for how many fucking weeks? 602 00:32:36,688 --> 00:32:39,224 I know, I know, but now he's suddenly getting nervous 603 00:32:39,224 --> 00:32:41,459 about the time, and the girls, and the boy and all. 604 00:32:41,459 --> 00:32:43,528 Well then, they have to start working earlier. 605 00:32:43,528 --> 00:32:45,530 In fact, I think that they're coming in on the 15th. 606 00:32:45,530 --> 00:32:48,366 I think Maurice said was when they wanted to start working with the girls. 607 00:32:48,366 --> 00:32:50,702 Well, that's up to Joe, not up to them. 608 00:32:50,702 --> 00:32:53,305 Yeah, I think he already spoke to Joe, but I'll check that out. 609 00:32:53,305 --> 00:32:56,741 That they would have a space and the guys would just try tech. 610 00:32:56,741 --> 00:32:59,177 Tech week is not a joy for anybody 611 00:32:59,177 --> 00:33:00,679 because all the elements of the show 612 00:33:00,679 --> 00:33:04,115 come together for the first time and they don't fit. 613 00:33:04,115 --> 00:33:06,551 So all the amount of tinkering that you have to do 614 00:33:06,551 --> 00:33:08,420 makes everyone crazy. 615 00:33:08,420 --> 00:33:09,387 And it's not a good time. 616 00:33:09,387 --> 00:33:13,225 So he can be a little intense at those times. 617 00:33:13,225 --> 00:33:16,194 And , you know, you just know that about him. 618 00:33:16,194 --> 00:33:18,663 And I understand that because this is it. 619 00:33:18,663 --> 00:33:20,799 He's committed. He's the producer. 620 00:33:20,799 --> 00:33:22,767 He's the one on the line. 621 00:33:22,767 --> 00:33:27,172 WANKEL: Off-Broadway is a little bit more challenging than Broadway these days. 622 00:33:27,172 --> 00:33:30,442 Only because it takes longer for a show to take off. 623 00:33:30,442 --> 00:33:34,045 You have to worry about the risk-reward factor. 624 00:33:35,313 --> 00:33:38,850 SOLOWAY: All right, let me just preface this by saying 625 00:33:38,850 --> 00:33:42,487 we are way over budget because of the set. 626 00:33:43,455 --> 00:33:44,522 Okay. 627 00:33:44,522 --> 00:33:47,459 And so, whatever we can cut, 628 00:33:49,160 --> 00:33:50,161 I would like to do. 629 00:33:50,161 --> 00:33:52,130 JACKIE LAVANWAY: Oh, how old is this budget? 630 00:33:52,130 --> 00:33:53,698 -Older than you. 631 00:33:53,698 --> 00:33:55,200 We can use this one. 632 00:33:55,200 --> 00:33:57,569 -Can I get it in Hebrew? -Yeah, you can. 633 00:33:58,837 --> 00:34:02,173 If we need to make cuts, um... 634 00:34:02,707 --> 00:34:04,109 We can talk about that. 635 00:34:34,806 --> 00:34:37,275 SOLOWAY: Okay, take care. Thanks. Bye. 636 00:34:40,879 --> 00:34:42,414 It's very hot. 637 00:34:45,617 --> 00:34:46,685 Hot. 638 00:34:51,623 --> 00:34:53,758 They didn't want to give me an open-end... 639 00:34:53,758 --> 00:34:54,960 Hot. 640 00:34:54,960 --> 00:34:56,828 They didn't want to give me an open-end at the theater. 641 00:34:56,828 --> 00:34:58,930 They wanted to give me ten weeks, I said that 642 00:34:58,930 --> 00:35:01,232 I can't raise a million dollars 643 00:35:01,232 --> 00:35:03,335 on a show that's only going to run ten... 644 00:35:03,335 --> 00:35:07,772 Anyway, so they, you know, I met with Bob over the weekend, 645 00:35:07,772 --> 00:35:11,176 ah, Wankel, and he said "I'll talk to them." 646 00:35:11,609 --> 00:35:13,144 Okay, honey. 647 00:35:14,346 --> 00:35:16,648 Anybody you know with money, holler. 648 00:35:16,648 --> 00:35:18,216 There are certain things that you learn over time 649 00:35:18,216 --> 00:35:22,454 what has to be done if a play isn't doing this well, this is what we'll cut back. 650 00:35:22,454 --> 00:35:25,390 And what to do, he's very knowledgeable, but you have to be. 651 00:35:25,390 --> 00:35:27,525 There's nothing to talk about. 652 00:35:27,525 --> 00:35:30,128 DASNER: Well, here's my question, there is something to talk about. 653 00:35:31,329 --> 00:35:33,198 They want to have a rehearsal room 654 00:35:33,198 --> 00:35:35,900 -from ten to one on the 17th. -No. 655 00:35:35,900 --> 00:35:38,670 -They want a rehearsal room? No. -Okay. 656 00:35:39,604 --> 00:35:41,840 -They can't. -Okay. 657 00:35:41,840 --> 00:35:43,341 It has to be done in the theater. 658 00:35:43,341 --> 00:35:44,876 We don't have any money, Judith. 659 00:35:44,876 --> 00:35:46,478 You don't have to tell me, I know. 660 00:35:46,478 --> 00:35:49,714 So we're not going to spend $300 for a rehearsal room. 661 00:35:49,714 --> 00:35:50,615 DRASNER: Okay. 662 00:35:51,883 --> 00:35:53,184 SOLOWAY: I'm going to send Jeff a note. 663 00:35:53,184 --> 00:35:55,553 DRASNER: Yeah, that would be great if you did. I would love that. 664 00:35:57,889 --> 00:36:00,191 I hate this fucking business. 665 00:36:03,561 --> 00:36:06,498 DRASNER: Sometimes, especially if it's going to be late at night 666 00:36:06,498 --> 00:36:11,269 and, you know, it's not been a good day, and tempers flare. 667 00:36:22,380 --> 00:36:23,982 -SOLOWAY: I want it out. -This is what I'm... 668 00:36:23,982 --> 00:36:26,551 No, I want it out. I'm not paying for it. 669 00:36:26,551 --> 00:36:28,186 -It doesn't work. -But it's already here. 670 00:36:28,186 --> 00:36:32,690 Listen to me. I'm not the only person that wonders if there's a fire backstage. 671 00:36:32,690 --> 00:36:34,626 I'm not the only person that thinks that. 672 00:36:34,626 --> 00:36:36,528 -Leonard, it's not... -I want it out of the show. 673 00:36:36,528 --> 00:36:38,530 Okay, this is where we have a problem. 674 00:36:38,530 --> 00:36:40,899 No, I don't have a problem because I'm a producer. 675 00:36:40,899 --> 00:36:43,568 -We do have a problem because... -I'm saying you can't have it. 676 00:36:43,568 --> 00:36:46,271 I mean, hello and welcome to theater. 677 00:36:46,271 --> 00:36:48,573 All right, then take my name off the show. 678 00:36:48,573 --> 00:36:50,875 -Oh, don't be silly. -No. Forget it. 679 00:36:50,875 --> 00:36:54,245 -You don't listen. You don't listen to me. -I don't ask for a lot. 680 00:36:59,417 --> 00:37:00,752 SOLOWAY: You're fired. 681 00:37:03,855 --> 00:37:05,790 CALHOUN: Okay. Thank you. 682 00:37:05,790 --> 00:37:07,826 DRASNER: I mean, everybody knows Leonard doesn't blow up. 683 00:37:07,826 --> 00:37:11,362 It's just a thing, you know. And then it's over with. 684 00:37:11,362 --> 00:37:15,366 Seriously, theater people are different. 685 00:37:23,908 --> 00:37:26,044 SOLOWAY: Let's see what you got, kids. 686 00:37:26,044 --> 00:37:27,812 MAN: So, the front is the key art. 687 00:37:28,780 --> 00:37:31,516 Oh, it's the same as... Yeah. 688 00:37:31,516 --> 00:37:33,585 What's the difference in the price? 689 00:37:33,585 --> 00:37:36,387 That package is just over $11,000. 690 00:37:36,387 --> 00:37:38,857 SOLOWAY: So we're still on budget pretty much, right? 691 00:37:38,857 --> 00:37:41,726 KEITH SHERMAN: PR and the theater go hand in hand. 692 00:37:41,726 --> 00:37:45,930 It's changed a lot, predominantly with the use of social media. 693 00:37:45,930 --> 00:37:51,002 Which has caused a lot of print media to go out of business. 694 00:37:51,002 --> 00:37:55,673 We have dozens and dozens of websites now devoted to the theater. 695 00:37:55,673 --> 00:37:59,077 So the mix has shifted but it's just a different way 696 00:37:59,077 --> 00:38:01,813 to communicate with audiences. 697 00:38:01,813 --> 00:38:03,448 NARRATOR: Though print media has dwindled, 698 00:38:03,448 --> 00:38:05,850 The New York Times still holds great importance 699 00:38:05,850 --> 00:38:07,952 in driving Broadway business. 700 00:38:07,952 --> 00:38:09,721 A good review, or a well-placed ad 701 00:38:09,721 --> 00:38:11,890 can be vital to a show's survival. 702 00:38:14,425 --> 00:38:16,361 DRASNER: I'm very excited about this ad. 703 00:38:16,361 --> 00:38:18,029 It looks beautiful. It really pops. 704 00:38:18,029 --> 00:38:22,934 It's everything that it should be and that's why I'm in such a hurry to go get a paper. 705 00:38:22,934 --> 00:38:25,303 Good morning. Oh. 706 00:38:26,571 --> 00:38:28,439 Where did she go with the camera? 707 00:38:29,040 --> 00:38:30,775 Gorgeous, isn't it? 708 00:38:33,678 --> 00:38:34,846 Thank you. 709 00:38:41,452 --> 00:38:43,621 Now that everybody thinks I'm a star 710 00:38:43,621 --> 00:38:46,457 because I carry my own media with me 711 00:38:46,457 --> 00:38:48,660 -SOLOWAY: That girl. -Mmm-hmm. 712 00:38:49,460 --> 00:38:51,763 -Did you look at it? -Yes. 713 00:38:51,763 --> 00:38:55,867 But I love the excitement of opening the page to you. 714 00:38:55,867 --> 00:38:57,602 -SOLOWAY: Wow. -Mmm-hmm. 715 00:39:02,473 --> 00:39:03,741 NARRATOR: At the start of the 1970s, 716 00:39:03,741 --> 00:39:07,512 Leonard was producing and managing a heavy schedule of plays. 717 00:39:07,512 --> 00:39:09,814 From comedies to historical dramas, 718 00:39:09,814 --> 00:39:13,151 and from a rock opera to classics of the American stage. 719 00:39:17,422 --> 00:39:20,091 WILSON: I was so thrilled to be able to see 720 00:39:20,091 --> 00:39:22,994 Colleen Dewhurst and Jason Robards 721 00:39:22,994 --> 00:39:25,697 perform live together on stage. 722 00:39:25,697 --> 00:39:29,100 They famously did A Moon for the Misbegotten together 723 00:39:29,100 --> 00:39:31,169 with Jose Quintero as director. 724 00:39:31,169 --> 00:39:33,905 That Leonard was the General Manager for. 725 00:39:33,905 --> 00:39:36,908 And that production of A Moon for the Misbegotten 726 00:39:36,908 --> 00:39:42,880 was one of the landmark productions of the 20th century. 727 00:39:44,148 --> 00:39:45,783 NARRATOR: A Moon for the Misbegotten 728 00:39:45,783 --> 00:39:47,685 was an emotionally draining play. 729 00:39:47,685 --> 00:39:50,655 With Jason Robards cast in the role of an alcoholic 730 00:39:50,655 --> 00:39:52,757 haunted by the death of his mother, 731 00:39:52,757 --> 00:39:54,893 it was not expected to have a long run. 732 00:39:54,893 --> 00:39:58,196 But the explosive chemistry between Robards and Dewhurst 733 00:39:58,196 --> 00:40:01,532 gave the production an unexpected charge. 734 00:40:01,532 --> 00:40:03,868 What happened was the show just took off. 735 00:40:03,868 --> 00:40:07,672 I mean, it was an enormous, enormous hit. 736 00:40:07,672 --> 00:40:10,575 We kept extending the extension. 737 00:40:11,809 --> 00:40:14,746 Jason was a great guy. Great. 738 00:40:14,746 --> 00:40:16,681 But one night, 739 00:40:16,681 --> 00:40:19,951 he went out after the Wednesday matinee 740 00:40:19,951 --> 00:40:23,221 and got drunk. Came back bombed. 741 00:40:23,221 --> 00:40:26,691 And I said, "Listen, what are we going to do?" 742 00:40:26,691 --> 00:40:29,027 He said, "I'll go on, get Betty." 743 00:40:29,027 --> 00:40:33,865 So I called Betty, Lauren Bacall, his ex-wife, 744 00:40:33,865 --> 00:40:36,501 who showed up in a mink coat over a slip 745 00:40:36,501 --> 00:40:38,169 with her hair in curlers. 746 00:40:38,169 --> 00:40:40,705 And she was, you know, "Get me this. Get me tea. 747 00:40:40,705 --> 00:40:43,241 "Get me water. Get me coffee." 748 00:40:43,241 --> 00:40:46,511 And, you know, half an hour later 749 00:40:46,511 --> 00:40:48,446 he came out of the dressing room. 750 00:40:48,446 --> 00:40:52,850 And Colleen said it was the most touching performance she'd ever had with him. 751 00:40:52,850 --> 00:40:57,922 'Cause it just broke her heart playing with him. 752 00:40:57,922 --> 00:41:01,225 NARRATOR: During this time, Leonard often went to New Haven, Connecticut, 753 00:41:01,225 --> 00:41:03,995 a Mecca for out of town tryouts. 754 00:41:03,995 --> 00:41:05,930 On one trip with his business partner 755 00:41:05,930 --> 00:41:09,634 Leonard reluctantly went to see a play called The Shadow Box 756 00:41:09,634 --> 00:41:13,571 with a cast that included a young Mandy Patinkin. 757 00:41:13,571 --> 00:41:16,074 SOLOWAY: Nobody wanted it because of the subject matter. 758 00:41:16,074 --> 00:41:19,644 It was the first play to deal with terminal illness. 759 00:41:20,578 --> 00:41:22,847 So we went to the theater 760 00:41:22,847 --> 00:41:27,218 and at intermission I turned and I said, "We have to do this." 761 00:41:27,218 --> 00:41:31,289 We not only won the Tony Awards, we won the Pulitzer Prize. 762 00:41:31,289 --> 00:41:35,860 It was so far ahead of its time that it never did any business. 763 00:41:37,295 --> 00:41:39,630 We lost every nickel. 764 00:41:39,630 --> 00:41:41,199 NARRATOR: For Leonard's father 765 00:41:41,199 --> 00:41:45,036 even winning Broadway's highest honor had little meaning. 766 00:41:45,036 --> 00:41:48,106 SOLOWAY: His first sentence to me on the phone always was 767 00:41:48,106 --> 00:41:49,807 "You making any money?" 768 00:41:49,807 --> 00:41:52,744 He didn't understand what a Tony Award was. 769 00:41:52,744 --> 00:41:54,879 And didn't care what it was. 770 00:41:55,847 --> 00:41:57,382 Every Saturday I'd call my mother 771 00:41:57,382 --> 00:42:01,018 and my father would get on the phone in the other room. 772 00:42:01,018 --> 00:42:05,256 And one day, he ended his conversation by saying, 773 00:42:05,256 --> 00:42:08,025 "I love you, Leonard." 774 00:42:08,025 --> 00:42:11,129 And my mother said, "Better late than never." 775 00:42:15,800 --> 00:42:17,702 NARRATOR: The truth is historically, 776 00:42:17,702 --> 00:42:21,072 the odds of succeeding on Broadway are always against you. 777 00:42:21,072 --> 00:42:24,042 Leonard's losers are enshrined at Joe Allen 778 00:42:24,042 --> 00:42:27,044 with many others that failed to find an audience. 779 00:42:27,044 --> 00:42:29,080 KEN BILLINGTON: Joe Allen's is a theatrical hangout. 780 00:42:29,080 --> 00:42:32,784 And I remember going back there in mid 60s 781 00:42:32,784 --> 00:42:34,952 when I just started working on Broadway. 782 00:42:34,952 --> 00:42:37,722 Some show closed, that was a big failure. 783 00:42:37,722 --> 00:42:41,392 And, I think, maybe as a joke and I may be wrong about this 784 00:42:41,392 --> 00:42:45,363 but a poster for that flop was put on the wall 785 00:42:45,363 --> 00:42:46,564 because it was so terrible. 786 00:42:46,564 --> 00:42:50,401 And then over the years it just grew and grew and grew. 787 00:42:50,401 --> 00:42:53,204 And, you know, as I always say about myself, 788 00:42:53,204 --> 00:42:57,875 "I can throw a big potato over my shoulder and hit a flop show that I did." 789 00:42:57,875 --> 00:43:00,645 NARRATOR: One flop that Ken Billington shared with Leonard 790 00:43:00,645 --> 00:43:03,347 was a musical called The Story of My Life. 791 00:43:03,347 --> 00:43:05,917 It ran for five performances. 792 00:43:05,917 --> 00:43:09,654 SOLOWAY: The critics hated it and I'm convinced to this day 793 00:43:09,654 --> 00:43:14,826 that the reason they hated it was that we never said what the show was really about. 794 00:43:14,826 --> 00:43:18,029 Which was that these two guys grew up together 795 00:43:18,029 --> 00:43:19,697 and were best friends. 796 00:43:19,697 --> 00:43:21,866 But one of them was in love with the other. 797 00:43:21,866 --> 00:43:24,902 I mean, it was implied but it never was stated. 798 00:43:24,902 --> 00:43:28,706 And I think that that's what killed that show. 799 00:43:28,706 --> 00:43:32,844 There's an intrepid quality to people like Leonard. 800 00:43:32,844 --> 00:43:36,380 They're willing to take a shot, you know, over and over again. 801 00:43:36,380 --> 00:43:40,918 And like anybody's career, you know, they're not all scores and the most interesting stories 802 00:43:40,918 --> 00:43:43,955 are the ones that didn't go well. 803 00:43:43,955 --> 00:43:49,393 SOLOWAY: Rockabye Hamlet was directed by Gower Champion. 804 00:43:49,393 --> 00:43:54,198 And we had gone to Canada to see the show which was terrific. 805 00:43:54,198 --> 00:43:57,301 But when we got to New York all of a sudden we're having 806 00:43:57,301 --> 00:44:00,438 huge scenery and stuff being added, 807 00:44:00,438 --> 00:44:03,107 so it became this big fucking production. 808 00:44:03,107 --> 00:44:07,311 And I said to them we should really only have the music critics 809 00:44:07,311 --> 00:44:09,046 instead of the theater critics. 810 00:44:09,046 --> 00:44:11,482 'Cause it basically was an opera. 811 00:44:11,482 --> 00:44:13,184 Well, we had the theater critics 812 00:44:13,184 --> 00:44:16,053 and it was a major disaster. 813 00:44:16,053 --> 00:44:17,788 NARRATOR: The New York Post's critic 814 00:44:17,788 --> 00:44:19,457 Martin Gottfried, wrote, 815 00:44:28,499 --> 00:44:31,369 A promising newcomer to theatrical heartbreak 816 00:44:31,369 --> 00:44:33,204 was Bernadette Peters. 817 00:44:33,204 --> 00:44:35,373 SOLOWAY: Bernadette and I became friendly 818 00:44:35,373 --> 00:44:36,941 on A Mother's Kisses 819 00:44:36,941 --> 00:44:39,477 on a show with Bea Arthur. 820 00:44:39,477 --> 00:44:41,846 And, uh, we were in New Haven 821 00:44:41,846 --> 00:44:44,882 and the show was too long and we had to cut 822 00:44:44,882 --> 00:44:46,050 at least 20 minutes, 823 00:44:46,050 --> 00:44:48,953 and what the creative people decided to do 824 00:44:48,953 --> 00:44:51,088 was to cut a whole segment. 825 00:44:51,088 --> 00:44:54,358 Well, that was the segment that Bernadette was in. 826 00:44:54,358 --> 00:44:57,695 So, I was the company manager, I had to fire her. 827 00:44:58,396 --> 00:45:00,231 And she was crying and I said, 828 00:45:00,231 --> 00:45:03,834 "You know, Bernadette, everything works out for the best. 829 00:45:03,834 --> 00:45:06,370 "You'll see, it's gonna be just fine." 830 00:45:06,370 --> 00:45:09,340 So, we went to Baltimore where we closed 831 00:45:09,340 --> 00:45:12,843 and she went to New York where she got Dames At Sea. 832 00:45:13,544 --> 00:45:15,479 So, then, when I ran into her 833 00:45:15,479 --> 00:45:16,981 when we were back in New York, 834 00:45:16,981 --> 00:45:18,783 several years later, she said, 835 00:45:18,783 --> 00:45:21,852 "Oh, there's the man that made me a star." 836 00:45:21,852 --> 00:45:23,955 And we still see each other, 837 00:45:23,955 --> 00:45:26,090 and I love going to opening nights 838 00:45:26,090 --> 00:45:29,160 'cause if she's there she always runs over and grabs me. 839 00:45:33,364 --> 00:45:36,267 LYNN WANKEL: When he was most prolific in his career, 840 00:45:36,267 --> 00:45:38,269 he was the odd man out. 841 00:45:38,269 --> 00:45:39,403 Leonard was the fellow, 842 00:45:39,403 --> 00:45:41,138 as much as he wanted the job done, 843 00:45:41,138 --> 00:45:43,207 he would also catch in the corner 844 00:45:43,207 --> 00:45:44,909 and say, you know, "Is everything okay? 845 00:45:44,909 --> 00:45:47,411 "'Cause your performance, I think, is a little off tonight." 846 00:45:47,411 --> 00:45:49,981 Or, uh, "You're okay financially?" 847 00:45:49,981 --> 00:45:52,350 Uh, he was always interested 848 00:45:52,350 --> 00:45:54,185 in someone, as a person. 849 00:45:54,585 --> 00:45:56,053 NARRATOR: In 1986, 850 00:45:56,053 --> 00:45:57,555 Leonard was the general manager 851 00:45:57,555 --> 00:45:59,957 for the hit comedy Social Security 852 00:45:59,957 --> 00:46:01,192 directed by Mike Nichols, 853 00:46:01,192 --> 00:46:04,929 and starring Olympia Dukakis and Marlo Thomas. 854 00:46:04,929 --> 00:46:08,132 Leonard formed a special bond with Olympia. 855 00:46:08,132 --> 00:46:11,102 I felt like if I had a problem 856 00:46:11,102 --> 00:46:11,936 I could go to him 857 00:46:11,936 --> 00:46:15,439 and he would be discreet, number one, 858 00:46:15,439 --> 00:46:18,042 and, uh, because with Mike Nichols 859 00:46:18,042 --> 00:46:21,145 it was a really rough kind of scene. 860 00:46:21,145 --> 00:46:25,283 One day in rehearsal, he was so impatient 861 00:46:25,283 --> 00:46:27,118 and he lashed out at me. 862 00:46:27,118 --> 00:46:30,187 And maybe it's because Leonard saw me through that, 863 00:46:30,187 --> 00:46:33,991 plus, my son, he was having issues 864 00:46:33,991 --> 00:46:36,193 and I needed to go home. 865 00:46:36,193 --> 00:46:38,029 She came to me and said, 866 00:46:38,029 --> 00:46:40,431 "I don't know what to do. I'm... I'm very distraught." 867 00:46:40,431 --> 00:46:42,066 I said, "Well, you should go." 868 00:46:42,066 --> 00:46:43,367 And she said, "Well, what will I..." 869 00:46:43,367 --> 00:46:45,469 I said, "Your understudy will go on." 870 00:46:45,469 --> 00:46:46,570 She said, "Oh, I hate to do that." 871 00:46:46,570 --> 00:46:48,139 I said, "Go." 872 00:46:48,139 --> 00:46:50,641 DUKAKIS: Leonard made it possible for me. 873 00:46:50,641 --> 00:46:53,477 I mean, you know, when it's your kid 874 00:46:53,477 --> 00:46:56,213 who cares about a play? 875 00:46:56,213 --> 00:46:58,215 NARRATOR: Leonard developed enduring friendships 876 00:46:58,215 --> 00:47:01,152 with many of the women he worked with over the years. 877 00:47:01,152 --> 00:47:03,521 Tony Award winning actress Elizabeth Ashley 878 00:47:03,521 --> 00:47:05,990 starred in the 1975 revival 879 00:47:05,990 --> 00:47:09,026 of Thornton Wilder's The Skin of Our Teeth. 880 00:47:09,026 --> 00:47:10,928 Before I'd ever worked with Leonard, 881 00:47:10,928 --> 00:47:13,497 I had met Leonard and I knew Leonard. 882 00:47:13,497 --> 00:47:16,367 And I was doing this French play 883 00:47:16,367 --> 00:47:19,403 by Jean Giraudoux called The Enchanted. 884 00:47:19,403 --> 00:47:22,640 And it's a very romantic play 885 00:47:22,640 --> 00:47:25,209 with the great, sort of... 886 00:47:25,209 --> 00:47:28,045 Uh, a lot of, sort of, sexuality 887 00:47:28,045 --> 00:47:30,381 kind of running underneath it. 888 00:47:30,381 --> 00:47:32,083 And my leading man 889 00:47:32,083 --> 00:47:36,153 was one of the most beautiful 890 00:47:36,153 --> 00:47:38,989 and seductive leading men at the time 891 00:47:38,989 --> 00:47:41,359 named Stephen McHattie. 892 00:47:41,359 --> 00:47:43,227 We were playing the Kennedy Center. 893 00:47:43,227 --> 00:47:47,665 And Leonard was general managing something else. 894 00:47:47,665 --> 00:47:50,134 And, on a matinee day, 895 00:47:50,134 --> 00:47:53,137 I'm sitting on the floor of my dressing room, 896 00:47:53,137 --> 00:47:55,206 you know, with all those cartons of Chinese food, 897 00:47:55,206 --> 00:47:57,108 the way you do between shows, 898 00:47:57,108 --> 00:48:00,478 and there's a knock on the door and... 899 00:48:00,478 --> 00:48:02,947 And, uh, I said, "What?" 900 00:48:02,947 --> 00:48:05,149 Door opens and it's Leonard, and Leonard is... 901 00:48:05,149 --> 00:48:07,585 I mean, Leonard is suited up 902 00:48:07,585 --> 00:48:09,286 and he stood there and he said, 903 00:48:10,154 --> 00:48:13,157 "I wanna know one thing. Is he gay?" 904 00:48:13,157 --> 00:48:16,093 And I knew immediately who he's talking about 905 00:48:16,093 --> 00:48:18,696 because, I mean, McHattie caused a stir 906 00:48:18,696 --> 00:48:20,631 when he walked down the street. 907 00:48:20,631 --> 00:48:24,034 And, well, I was so happy to say, "No!" 908 00:48:24,034 --> 00:48:26,270 Years later, I think, Leonard said, 909 00:48:26,270 --> 00:48:30,441 "I knew that you got him before I did." 910 00:48:30,441 --> 00:48:32,977 NARRATOR: Leonard first met actress Tovah Feldshuh 911 00:48:32,977 --> 00:48:34,712 when she appeared in an off-Broadway play 912 00:48:34,712 --> 00:48:36,347 early in her career. 913 00:48:36,347 --> 00:48:37,982 I met Leonard Soloway 914 00:48:37,982 --> 00:48:42,219 when I was doing Yentl at the Brooklyn Academy of Music. 915 00:48:42,219 --> 00:48:44,421 I have known him throughout my career. 916 00:48:45,089 --> 00:48:46,724 He's a real gent. 917 00:48:46,724 --> 00:48:49,326 He's elegant. He looks marvelous. 918 00:48:49,326 --> 00:48:50,628 He has style. 919 00:48:50,628 --> 00:48:52,296 NARRATOR: And Leonard was impressed with Tovah. 920 00:48:52,296 --> 00:48:56,167 When she took on the role of Israeli Prime Minister Golda Meir 921 00:48:56,167 --> 00:48:58,736 in the off-Broadway production of Golda's Balcony, 922 00:48:58,736 --> 00:49:01,205 Leonard offered to take it to Broadway. 923 00:49:01,205 --> 00:49:03,607 FELDSHUH: But the deal was a terrible offer. 924 00:49:03,607 --> 00:49:05,476 I didn't take it. 925 00:49:05,476 --> 00:49:07,111 NARRATOR: Leonard would have another chance 926 00:49:07,111 --> 00:49:09,146 to work with Tovah, on a new play 927 00:49:09,146 --> 00:49:11,382 that also started off-Broadway. 928 00:49:11,382 --> 00:49:14,218 FELDSHUH: He was the general manager of Irena's Vow. 929 00:49:14,218 --> 00:49:17,321 He and Daryl Roth, wonderful producer, 930 00:49:17,321 --> 00:49:19,390 took a real shine to the piece, 931 00:49:19,390 --> 00:49:22,493 and they brought us to Broadway. 932 00:49:24,195 --> 00:49:26,664 NARRATOR: In 1999, Leonard oversaw 933 00:49:26,664 --> 00:49:28,332 the momentous Broadway comeback 934 00:49:28,332 --> 00:49:31,402 of stage and screen icon, Lauren Bacall 935 00:49:31,402 --> 00:49:33,637 in his production of Noel Coward's 936 00:49:33,637 --> 00:49:35,239 Waiting in the Wings. 937 00:49:35,239 --> 00:49:37,508 Waiting in the Wings boasted an amazing cast. 938 00:49:37,508 --> 00:49:39,243 Not just Lauren Bacall, 939 00:49:39,243 --> 00:49:41,512 but Rosemary Harris, Dana Ivey. 940 00:49:41,512 --> 00:49:43,647 There was an all-star cast. 941 00:49:43,647 --> 00:49:45,516 At that point in her life, 942 00:49:45,516 --> 00:49:47,651 Lauren Bacall was not 943 00:49:47,651 --> 00:49:49,620 the easiest to get along with, 944 00:49:49,620 --> 00:49:51,322 but Leonard, uh, 945 00:49:51,322 --> 00:49:53,357 not only knew how to charm Bacall 946 00:49:53,357 --> 00:49:55,526 but also knew how to stand up to her. 947 00:49:55,526 --> 00:49:57,795 When I was, uh, 948 00:49:57,795 --> 00:50:00,698 boss, and she called me into her dressing room 949 00:50:00,698 --> 00:50:01,799 and she said, 950 00:50:01,799 --> 00:50:04,835 "Listen, I hear we got a fabulous notice." 951 00:50:04,835 --> 00:50:06,337 I said, "Yeah, we did." 952 00:50:06,337 --> 00:50:07,771 She said, "Why didn't you tell me?" 953 00:50:07,771 --> 00:50:10,174 I said, "Because it's no good for you." 954 00:50:11,342 --> 00:50:13,143 She said, "What did they say? 955 00:50:13,143 --> 00:50:15,679 "That I missed a few lines here and there?" 956 00:50:15,679 --> 00:50:17,181 "Missed a few lines?" 957 00:50:17,181 --> 00:50:19,116 I had a girl sitting in the front row 958 00:50:19,116 --> 00:50:21,685 "throwing her every fucking line." 959 00:50:21,685 --> 00:50:23,687 And then she came to me and said, 960 00:50:23,687 --> 00:50:27,291 "I saw this bracelet at Cartier's 961 00:50:27,291 --> 00:50:29,593 "that I would like to get to wear in the show." 962 00:50:29,593 --> 00:50:31,161 I said, "Number one, 963 00:50:31,161 --> 00:50:32,396 "the woman in the show 964 00:50:32,396 --> 00:50:35,466 "would not have a $6,000 bracelet. 965 00:50:35,466 --> 00:50:36,700 "So, forget about it. 966 00:50:36,700 --> 00:50:38,168 "But, if the show's a hit in New York, 967 00:50:38,168 --> 00:50:39,336 "I'll get it for you." 968 00:50:39,703 --> 00:50:41,338 Well, she, 969 00:50:41,338 --> 00:50:44,308 of course, forgot all about it, so... 970 00:50:44,308 --> 00:50:46,310 We did get her a dog, however. 971 00:50:47,578 --> 00:50:49,546 And I did adore her. 972 00:50:49,546 --> 00:50:51,215 Great sense of humor. 973 00:50:52,616 --> 00:50:55,319 -Okay. -MAN: Well, we just wanna thank you 974 00:50:55,319 --> 00:50:57,788 -for coming here today. -Where is he now? 975 00:50:57,788 --> 00:50:59,690 Oh, uh, we can call him. 976 00:50:59,690 --> 00:51:00,557 I think we should give him a call. 977 00:51:00,557 --> 00:51:01,825 MAN 2: Why don't we call him, then? 978 00:51:01,825 --> 00:51:03,394 Just to say hello... 979 00:51:03,394 --> 00:51:05,429 MAN 2: Give me my, uh, cellphone. 980 00:51:05,429 --> 00:51:06,463 Hi, Leonard. 981 00:51:07,364 --> 00:51:09,133 It's Olympia. 982 00:51:09,133 --> 00:51:11,235 SOLOWAY: Olympia, my darling treasure. 983 00:51:11,235 --> 00:51:13,270 -How the fuck are you? -Alive. 984 00:51:13,270 --> 00:51:15,472 Yes, alive, and kicking, 985 00:51:15,472 --> 00:51:16,774 and well, and, uh... 986 00:51:16,774 --> 00:51:18,342 What are you, 90 now? 987 00:51:19,677 --> 00:51:21,145 Yeah. 988 00:51:25,749 --> 00:51:28,085 -Really? 989 00:51:33,490 --> 00:51:35,826 Oh, of course, of course. 990 00:51:35,826 --> 00:51:37,127 -I love you very much. -I love you too, 991 00:51:37,127 --> 00:51:38,595 -And I think of you all the time. -sweetheart. 992 00:51:38,595 --> 00:51:40,531 -Bye-bye. -Bye, honey. 993 00:51:40,531 --> 00:51:43,200 Take care. Bye. Bye. 994 00:51:43,200 --> 00:51:45,836 Do you want me to scan that and send it to them? 995 00:51:45,836 --> 00:51:47,771 -Just so they can... -Yes. 996 00:51:47,771 --> 00:51:50,774 So, have... Add him here. 997 00:51:50,774 --> 00:51:52,276 NARRATOR: Throughout the 1980s, 998 00:51:52,276 --> 00:51:55,179 Leonard was involved with a number of musical productions. 999 00:51:55,179 --> 00:51:57,381 One of them would pose a major challenge 1000 00:51:57,381 --> 00:51:59,450 to his well-honed people skills. 1001 00:52:01,418 --> 00:52:03,420 AZENBERG: Jerome Robbins was maybe 1002 00:52:03,420 --> 00:52:05,556 the single most difficult man I'd ever met 1003 00:52:05,556 --> 00:52:06,457 in the theater. 1004 00:52:06,457 --> 00:52:07,925 Maybe in the world. 1005 00:52:07,925 --> 00:52:09,393 He was relentless. 1006 00:52:09,393 --> 00:52:11,228 WANKEL: Jerome Robbins' Broadway 1007 00:52:11,228 --> 00:52:13,864 was a big show 1008 00:52:13,864 --> 00:52:17,601 putting together the six-month rehearsal period 1009 00:52:17,601 --> 00:52:19,403 which is unheard of, 1010 00:52:19,403 --> 00:52:21,939 but that's what Mr. Robbins insisted on. 1011 00:52:21,939 --> 00:52:24,174 We did rehearse for six months. 1012 00:52:24,575 --> 00:52:26,410 Sixty-two dancers. 1013 00:52:27,277 --> 00:52:29,613 For six months, six days a week. 1014 00:52:29,980 --> 00:52:31,415 It was monumental. 1015 00:52:31,415 --> 00:52:34,284 We were squished into the Imperial Theater. 1016 00:52:34,284 --> 00:52:35,686 SOLOWAY: We'd rehearse six weeks. 1017 00:52:35,686 --> 00:52:37,287 We'd take off six weeks. 1018 00:52:37,287 --> 00:52:39,957 It took a year to get the show going. 1019 00:52:39,957 --> 00:52:42,693 Jerome Robbins' Broadway was the top number 1020 00:52:42,693 --> 00:52:43,794 from all of his shows. 1021 00:52:43,794 --> 00:52:46,230 And the thing about Jerry Robbins was that 1022 00:52:46,230 --> 00:52:47,564 you could never tell from his shows 1023 00:52:47,564 --> 00:52:49,533 that he was the choreographer. 1024 00:52:49,533 --> 00:52:53,570 Because all of his dancers came out of the material. 1025 00:52:53,570 --> 00:52:56,407 In those days, they didn't write down choreography 1026 00:52:56,407 --> 00:52:58,575 They didn't notate what it was. 1027 00:52:58,575 --> 00:53:01,879 So, uh, we brought people over from Holland 1028 00:53:01,879 --> 00:53:04,248 and from Paris, 1029 00:53:04,248 --> 00:53:07,351 and people who had been in the original production 1030 00:53:07,351 --> 00:53:09,853 of whatever show we were talking about. 1031 00:53:09,853 --> 00:53:12,656 People were constantly coming in with their memories. 1032 00:53:12,656 --> 00:53:15,559 Now, they didn't, maybe, necessarily know the steps, 1033 00:53:15,559 --> 00:53:17,294 but all of a sudden, like, somebody would go, 1034 00:53:17,294 --> 00:53:18,829 "Oh, and I remember we did this." 1035 00:53:18,829 --> 00:53:21,932 And all of a sudden, "Oh, and you know what, I did that." 1036 00:53:21,932 --> 00:53:23,867 And everybody, all of a sudden, 1037 00:53:23,867 --> 00:53:25,469 fell right into it 1038 00:53:25,469 --> 00:53:28,005 because we all have that muscle memory. 1039 00:53:28,005 --> 00:53:30,874 You were sort of auditioning, basically, 1040 00:53:30,874 --> 00:53:32,543 everyday for him. 1041 00:53:32,543 --> 00:53:35,012 All this incredible dance and movement 1042 00:53:35,012 --> 00:53:36,146 and things were happening, 1043 00:53:36,146 --> 00:53:39,383 and then, it all, like, went down to, like, 1044 00:53:39,383 --> 00:53:40,818 Girl in the Spotlight. 1045 00:53:40,818 --> 00:53:42,886 And it was me. 1046 00:53:42,886 --> 00:53:44,721 And when he first lit it, 1047 00:53:44,721 --> 00:53:45,923 something happened with the lighting 1048 00:53:45,923 --> 00:53:48,725 and I was a little... Guess I wasn't happy. 1049 00:53:48,725 --> 00:53:50,327 And I said to him, 1050 00:53:50,327 --> 00:53:53,497 "Well, I just want it to be perfect." And he said, 1051 00:53:53,497 --> 00:53:55,599 "Now you know how I feel." 1052 00:53:55,599 --> 00:53:57,568 NARRATOR: But Robbins' demands for perfection 1053 00:53:57,568 --> 00:54:00,037 didn't sit well with some of the producers. 1054 00:54:00,037 --> 00:54:02,506 In particular, Manny Azenberg. 1055 00:54:02,506 --> 00:54:05,476 Manny called me one morning and he was really 1056 00:54:05,476 --> 00:54:08,545 not himself, and he says, "I'm resigning." 1057 00:54:08,545 --> 00:54:09,880 "So, what are you resigning for? 1058 00:54:09,880 --> 00:54:11,381 "The show hasn't even opened. 1059 00:54:11,381 --> 00:54:13,016 I was just exhausted. 1060 00:54:13,016 --> 00:54:14,384 He said, "I can't take it, Phil. 1061 00:54:14,384 --> 00:54:17,621 "If I don't resign, I'm gonna either have a nervous breakdown 1062 00:54:17,621 --> 00:54:19,823 "or I'm gonna lose Lani, I'm gonna lose my wife." 1063 00:54:20,924 --> 00:54:23,360 I said, "Just take it easy. Relax. 1064 00:54:23,360 --> 00:54:26,396 "Don't... Don't resign. Don't do anything. 1065 00:54:26,396 --> 00:54:28,365 "Leonard can take the show. 1066 00:54:29,399 --> 00:54:30,701 "And when Leonard handles the show 1067 00:54:30,701 --> 00:54:33,670 "you don't have to be in there, on the firing line." 1068 00:54:33,670 --> 00:54:35,939 It was sort of a perfect combination 1069 00:54:35,939 --> 00:54:38,342 of the two of them, 1070 00:54:38,342 --> 00:54:39,476 because Leonard's honesty, 1071 00:54:39,476 --> 00:54:41,578 I think Jerry could handle that. 1072 00:54:41,578 --> 00:54:42,980 He went right along with it. 1073 00:54:42,980 --> 00:54:44,581 Any time when you had humor, 1074 00:54:44,581 --> 00:54:46,416 and obviously, Leonard 1075 00:54:46,416 --> 00:54:48,819 is one of the gods of humor. 1076 00:54:48,819 --> 00:54:52,623 That, you know, is one of his great, great strengths. 1077 00:54:52,623 --> 00:54:53,857 So, I think... 1078 00:54:53,857 --> 00:54:56,693 So, I think that for Jerry Robbins, it was, it was good. 1079 00:54:56,693 --> 00:54:58,862 SOLOWAY: He said to his assistants once, 1080 00:54:58,862 --> 00:55:02,065 he said, "Don't say anything important in the car. 1081 00:55:02,065 --> 00:55:04,835 "'Cause the driver is a spy for Leonard." 1082 00:55:04,835 --> 00:55:08,572 Leonard's attitude is, "You can't pull that shit on me." 1083 00:55:08,572 --> 00:55:10,674 And Leonard was a stalwart. 1084 00:55:10,674 --> 00:55:13,510 SOLOWAY: The first dress rehearsal in New York, 1085 00:55:13,510 --> 00:55:16,113 I broke the show at 10:00. 1086 00:55:16,113 --> 00:55:18,115 And he came to me and said, 1087 00:55:18,115 --> 00:55:21,552 "What... What happened?" And I... I just lost it. 1088 00:55:21,552 --> 00:55:24,788 And I said, "Everybody's been working 18 hours a day. 1089 00:55:24,788 --> 00:55:26,423 "They're dead tired... 1090 00:55:26,423 --> 00:55:28,592 "The musicians, the crew, 1091 00:55:28,592 --> 00:55:30,594 "and they just can't keep going." 1092 00:55:30,994 --> 00:55:32,863 And he said, "Oh, okay." 1093 00:55:33,764 --> 00:55:35,132 So, some... 1094 00:55:35,132 --> 00:55:37,467 I... I thought the theater was empty. 1095 00:55:37,467 --> 00:55:41,405 Some stagehand was there and heard all this. 1096 00:55:41,405 --> 00:55:44,441 I got home and my phone was ringing. 1097 00:55:44,441 --> 00:55:46,843 I suddenly was a hero on Broadway 1098 00:55:46,843 --> 00:55:49,913 'cause I told Jerry Robbins to go fuck himself. 1099 00:55:55,919 --> 00:55:57,487 -Judith? -Mmm? 1100 00:55:57,487 --> 00:55:59,156 Tell our stage manager 1101 00:55:59,156 --> 00:56:00,991 that she should come through us 1102 00:56:00,991 --> 00:56:03,627 before she talks to anybody. 1103 00:56:03,627 --> 00:56:06,463 This is fucking ridiculous, what's going on here. 1104 00:56:08,098 --> 00:56:09,733 What are you looking at me like that for? 1105 00:56:09,733 --> 00:56:11,535 Well, because. 1106 00:56:11,535 --> 00:56:14,037 When we were on the road that's what she did. 1107 00:56:14,037 --> 00:56:16,073 -I know. -And that's what I want. 1108 00:56:16,073 --> 00:56:18,041 She can't just call Joe 1109 00:56:18,041 --> 00:56:19,710 and say this is what she wants. 1110 00:56:20,043 --> 00:56:21,712 Okay. 1111 00:56:21,712 --> 00:56:23,480 Looks like your mail. Did you see it? 1112 00:56:23,480 --> 00:56:24,781 -I saw it, yeah. 1113 00:56:25,816 --> 00:56:26,817 I mean, 1114 00:56:26,817 --> 00:56:28,051 who does she think she is, for Christ's sake. 1115 00:56:28,051 --> 00:56:30,887 Every... Every other stage manager I've ever dealt with 1116 00:56:30,887 --> 00:56:33,624 called me to say what they wanted to do. 1117 00:56:34,191 --> 00:56:35,459 Well, she's making a schedule. 1118 00:56:35,459 --> 00:56:37,928 She always talks to you but she's trying to make the schedule. 1119 00:56:37,928 --> 00:56:39,596 I want to know what's happening. 1120 00:56:39,596 --> 00:56:41,665 I don't wanna hear it second hand. 1121 00:56:41,932 --> 00:56:42,933 Okay. 1122 00:56:52,175 --> 00:56:53,777 NARRATOR: In 1997, 1123 00:56:53,777 --> 00:56:55,646 Leonard was asked to see a production 1124 00:56:55,646 --> 00:56:58,949 of an off-off-Broadway play called Gross Indecency. 1125 00:56:58,949 --> 00:57:01,218 It was based on the true story of the trials 1126 00:57:01,218 --> 00:57:04,221 of Irish poet and playwright, Oscar Wilde. 1127 00:57:04,221 --> 00:57:06,056 Future Emmy winner Michael Emerson 1128 00:57:06,056 --> 00:57:09,493 won praise for his breakout performance as Wilde. 1129 00:57:10,594 --> 00:57:13,230 In 1895, the Marquess of Queensberry, 1130 00:57:13,230 --> 00:57:15,966 father of Wilde's lover, Lord Alfred Douglas, 1131 00:57:15,966 --> 00:57:18,602 accused Oscar Wilde of being a sodomist 1132 00:57:18,602 --> 00:57:19,836 and enticing young men 1133 00:57:19,836 --> 00:57:22,939 into, then, illegal homosexuality. 1134 00:57:22,939 --> 00:57:24,675 You will hear these men testify 1135 00:57:24,675 --> 00:57:29,046 that Mr. Wilde committed acts of gross indecency. 1136 00:57:29,046 --> 00:57:30,881 You will hear from their lips... 1137 00:57:30,881 --> 00:57:33,617 It is, in this century, misunderstood. 1138 00:57:34,918 --> 00:57:36,953 So much misunderstood 1139 00:57:36,953 --> 00:57:38,288 that it may be described as 1140 00:57:38,288 --> 00:57:40,857 the love that dare not speak its name. 1141 00:57:41,792 --> 00:57:44,528 Wilde was found guilty of gross indecency 1142 00:57:44,528 --> 00:57:46,163 and received the harshest sentence 1143 00:57:46,163 --> 00:57:48,265 of two years with hard labor. 1144 00:57:48,265 --> 00:57:50,934 After his release, he left Britain for France 1145 00:57:50,934 --> 00:57:53,170 where he continued to write until his death 1146 00:57:53,170 --> 00:57:54,871 at the age of 46. 1147 00:57:56,273 --> 00:57:59,176 In a rare review for an off-off-Broadway play, 1148 00:57:59,176 --> 00:58:01,111 Ben Brantley of The New York Times 1149 00:58:01,111 --> 00:58:03,180 gave Gross Indecency a rave, 1150 00:58:03,180 --> 00:58:05,615 calling it "absolutely gripping." 1151 00:58:06,149 --> 00:58:07,284 Leonard agreed to take the play 1152 00:58:07,284 --> 00:58:09,720 to a larger venue in Greenwich Village, 1153 00:58:09,720 --> 00:58:11,922 the Minetta Lane Theater. 1154 00:58:11,922 --> 00:58:15,625 SOLOWAY: And I called my friend Chase Mishkin 1155 00:58:15,625 --> 00:58:18,028 and I said, "I'm doing this play 1156 00:58:18,028 --> 00:58:19,363 "about Oscar Wilde, 1157 00:58:19,363 --> 00:58:22,065 "and, uh, would you be able to set it in investing?" 1158 00:58:22,065 --> 00:58:24,034 And she said, "Yes, sure." 1159 00:58:24,034 --> 00:58:26,903 And I knew I was home free. 1160 00:58:26,903 --> 00:58:29,673 And then we played Toronto, we played Chicago, 1161 00:58:29,673 --> 00:58:31,808 we played Los Angeles, 1162 00:58:31,808 --> 00:58:33,610 San Francisco. 1163 00:58:33,610 --> 00:58:35,345 Everybody found it fascinating 1164 00:58:35,345 --> 00:58:37,948 and we sold out everywhere we went. 1165 00:58:39,783 --> 00:58:41,785 NARRATOR: Another highlight of Leonard's career, 1166 00:58:41,785 --> 00:58:43,987 was serving as producer and general manager 1167 00:58:43,987 --> 00:58:46,223 for a revival of Whoopi Goldberg's 1168 00:58:46,223 --> 00:58:47,824 One Woman Show. 1169 00:58:47,824 --> 00:58:50,594 The limited Broadway run was a sellout. 1170 00:58:51,628 --> 00:58:53,330 So, it weren't no surprise to me 1171 00:58:53,330 --> 00:58:54,898 what happened, I'll tell you. 1172 00:58:54,898 --> 00:58:56,666 But I'll tell you what was a surprise. 1173 00:58:56,666 --> 00:58:58,668 When this election was the first one, 1174 00:58:58,668 --> 00:59:00,070 that shit shot the hell out of me. 1175 00:59:00,070 --> 00:59:02,873 'Cause I always thought in order to be President of the United States, 1176 00:59:02,873 --> 00:59:04,808 -you had to be smart... 1177 00:59:04,808 --> 00:59:07,978 ...you know what I mean? No, no, wait, wait, wait, wait. No, it's... 1178 00:59:07,978 --> 00:59:10,147 Let me... Let me explain what I'm saying. 1179 00:59:10,147 --> 00:59:11,114 You know, I'm just saying 1180 00:59:11,114 --> 00:59:13,183 I thought you had to know shit like geography. 1181 00:59:15,085 --> 00:59:17,287 SOLOWAY: So, there was a very big weekend, 1182 00:59:17,287 --> 00:59:19,656 I mean, there was a big holiday weekend, 1183 00:59:20,023 --> 00:59:21,324 and... 1184 00:59:21,324 --> 00:59:23,693 Uh, it was gonna be huge 1185 00:59:23,693 --> 00:59:26,229 and she was desperately ill. 1186 00:59:26,229 --> 00:59:28,098 She missed the whole weekend. 1187 00:59:29,032 --> 00:59:32,035 So, when the show closed, she said to me, 1188 00:59:32,035 --> 00:59:33,703 "Did you break even?" 1189 00:59:33,703 --> 00:59:36,139 And I said, "Not quite." And she said, "Well, 1190 00:59:36,139 --> 00:59:38,341 "how much were you... How much do you think you lost?" 1191 00:59:38,341 --> 00:59:40,410 I said, "About 100,000." 1192 00:59:40,410 --> 00:59:42,179 She went to Clearwater 1193 00:59:42,179 --> 00:59:43,847 and played a Saturday night 1194 00:59:43,847 --> 00:59:46,750 and gave me a check for $100,000. 1195 00:59:46,750 --> 00:59:48,385 And I thought, "You know what? 1196 00:59:48,385 --> 00:59:50,854 "I'm gonna try to walk in my heart 1197 00:59:50,854 --> 00:59:53,857 "with the idea that in spite of everything, 1198 00:59:53,857 --> 00:59:55,826 "there's still good in people." 1199 00:59:56,393 --> 00:59:57,994 SOLOWAY: I loved her. 1200 00:59:58,728 --> 01:00:00,864 She's quite a lady. 1201 01:00:02,299 --> 01:00:04,401 NARRATOR: In 2002, Leonard was told 1202 01:00:04,401 --> 01:00:05,836 that Hollywood superstar Paul Newman 1203 01:00:05,836 --> 01:00:09,005 wanted to bring Thornton Wilder's timeless play 1204 01:00:09,005 --> 01:00:11,041 Our Town to Broadway. 1205 01:00:11,041 --> 01:00:13,210 Newman and his wife Joanne Woodward 1206 01:00:13,210 --> 01:00:16,446 were patrons of the Westport Country Playhouse in Connecticut 1207 01:00:16,446 --> 01:00:18,982 where a revival of the play had opened. 1208 01:00:18,982 --> 01:00:20,817 All profits from the New York production 1209 01:00:20,817 --> 01:00:22,352 would go to that theater. 1210 01:00:22,352 --> 01:00:26,156 Newman wanted to personally select the Broadway venue. 1211 01:00:26,156 --> 01:00:29,159 So, he, for some reason, 1212 01:00:29,159 --> 01:00:30,393 wanted to take a look at 1213 01:00:30,393 --> 01:00:32,729 what is now the Walter Kerr Theater. 1214 01:00:32,729 --> 01:00:35,999 I said, "No. You got to see the Booth 1215 01:00:35,999 --> 01:00:38,835 "which is right at the Shubert alley 1216 01:00:38,835 --> 01:00:41,338 "and where we have a lot of other theaters." 1217 01:00:41,338 --> 01:00:43,173 So, Paul goes through and he says, 1218 01:00:43,173 --> 01:00:44,307 "Oh, I wanna go on the stage." 1219 01:00:44,307 --> 01:00:46,276 I said, "Well, the door is over here." 1220 01:00:46,276 --> 01:00:47,210 He said, "No." 1221 01:00:47,210 --> 01:00:50,080 He's 70 years old. He jumps up on the stage. 1222 01:00:51,414 --> 01:00:53,183 I mean, he was just a doll. 1223 01:00:55,452 --> 01:00:57,254 Well... 1224 01:00:57,254 --> 01:00:59,289 Now is the time to tell you, 1225 01:00:59,289 --> 01:01:01,124 I think that the Cartwright interests 1226 01:01:01,124 --> 01:01:03,994 are building a new bank in Grover's Corners. 1227 01:01:05,195 --> 01:01:08,398 I had to go to Vermont for the marble, I'm sorry to say. 1228 01:01:08,398 --> 01:01:10,934 And, uh, they've asked some friends of mine 1229 01:01:10,934 --> 01:01:11,968 what we should put in the cornerstone 1230 01:01:11,968 --> 01:01:15,472 for people to dig up a thousand years from now. 1231 01:01:15,472 --> 01:01:17,207 Of course, so, we are putting in a copy 1232 01:01:17,207 --> 01:01:20,477 of the Constitution of the United States of America, 1233 01:01:20,477 --> 01:01:21,878 and the Bible, 1234 01:01:21,878 --> 01:01:24,681 and some of Shakespeare's plays. 1235 01:01:26,283 --> 01:01:28,752 What do you say? What do you think? 1236 01:01:28,752 --> 01:01:30,520 Everybody worked for minimum, 1237 01:01:30,520 --> 01:01:31,821 including Paul. 1238 01:01:31,821 --> 01:01:35,091 But they were getting a percentage of the profits 1239 01:01:35,091 --> 01:01:37,294 and we ended up making so much money 1240 01:01:37,294 --> 01:01:39,296 that they all made more money 1241 01:01:39,296 --> 01:01:40,497 than they would have made 1242 01:01:40,497 --> 01:01:43,066 if they'd been with their regular salaries. 1243 01:01:50,173 --> 01:01:53,243 All right, darling, thank you. Give my love to her. 1244 01:01:53,243 --> 01:01:55,111 Your welcome. Bye. 1245 01:01:56,379 --> 01:01:58,114 Oh, dear! 1246 01:01:59,849 --> 01:02:02,852 Everybody's fucking dying. 1247 01:02:02,852 --> 01:02:05,522 You know, I don't understand why you have to have a coffin 1248 01:02:05,522 --> 01:02:07,824 even if you're being cremated. 1249 01:02:07,824 --> 01:02:10,226 -They have to have a coffin. -I know. 1250 01:02:10,226 --> 01:02:12,862 I know. You can just put me in a trash bag 1251 01:02:12,862 --> 01:02:14,331 and throw me out. What do I care? 1252 01:02:14,331 --> 01:02:15,832 That's what I think. 1253 01:02:27,110 --> 01:02:29,879 SOLOWAY: You know, he gets depressed very often. 1254 01:02:29,879 --> 01:02:32,315 So, this doctor put him on this regime 1255 01:02:32,315 --> 01:02:34,417 of when he gets home at night, 1256 01:02:34,417 --> 01:02:36,886 to write, um, write down 1257 01:02:36,886 --> 01:02:39,289 what was nice during the day. 1258 01:02:40,423 --> 01:02:42,459 And he said it's been three months now 1259 01:02:42,459 --> 01:02:43,893 that he's doing this 1260 01:02:43,893 --> 01:02:46,262 and it has changed his whole brain. 1261 01:02:46,262 --> 01:02:48,164 That's great. Good for him. 1262 01:02:48,164 --> 01:02:49,899 That's what my shrink always said. 1263 01:02:49,899 --> 01:02:50,934 You have to look for the good. 1264 01:02:50,934 --> 01:02:53,870 The bad is all over, you have to find the good. 1265 01:02:53,870 --> 01:02:55,372 It's not easy. Look for the good. 1266 01:02:55,372 --> 01:02:57,907 This show is gonna be open and it's gonna be great. 1267 01:02:59,576 --> 01:03:01,111 But we... We didn't have 1268 01:03:01,111 --> 01:03:04,180 much competition in all the other towns. 1269 01:03:04,180 --> 01:03:08,051 -I know. -When there's 30 fucking shows on Broadway. 1270 01:03:09,352 --> 01:03:13,490 I know, but there are 60 gazillion people going to these shows. 1271 01:03:13,490 --> 01:03:15,325 And they can come see ours too. 1272 01:03:15,325 --> 01:03:16,660 Especially for less... 1273 01:03:16,660 --> 01:03:19,462 Remember, when we were first thinking about bringing it on Broadway? 1274 01:03:19,462 --> 01:03:21,131 This is gonna be much better. 1275 01:03:21,131 --> 01:03:23,466 Oh, I... I think we're in the right place. 1276 01:03:23,466 --> 01:03:24,501 Absolutely in the right place. 1277 01:03:24,501 --> 01:03:27,003 It's in... It's in town. 1278 01:03:27,003 --> 01:03:30,073 It's really in Broadway. They can go to TKTS walk right over there. 1279 01:03:30,940 --> 01:03:32,442 So, I think it's gonna be very good. 1280 01:03:32,442 --> 01:03:34,144 I'm excited about this, Leonard. 1281 01:03:41,918 --> 01:03:43,953 NARRATOR: As the New York opening night approached 1282 01:03:43,953 --> 01:03:45,155 for Tappin' Thru Life, 1283 01:03:45,155 --> 01:03:47,323 there were the usual jitters. 1284 01:03:47,323 --> 01:03:49,292 WANKEL: Everybody has the same concern. 1285 01:03:49,292 --> 01:03:52,629 You pick the show, you put it together, 1286 01:03:52,629 --> 01:03:54,364 you bring all of the parts together 1287 01:03:54,364 --> 01:03:57,934 and then the audience decides whether it's good or bad. 1288 01:03:57,934 --> 01:04:00,236 And so, you never know what the audience is gonna do. 1289 01:04:00,236 --> 01:04:02,605 They either buy the tickets or they don't. 1290 01:04:02,605 --> 01:04:04,240 And it could be a great show 1291 01:04:04,240 --> 01:04:06,443 and people don't seem to have interest, 1292 01:04:06,443 --> 01:04:09,245 or the press could not give it the kind of attention 1293 01:04:09,245 --> 01:04:10,480 that it may need. 1294 01:04:10,480 --> 01:04:12,449 A lot of things going into 1295 01:04:12,449 --> 01:04:14,150 having a show sell. 1296 01:04:14,150 --> 01:04:16,019 And the best thing is word of mouth. 1297 01:04:16,019 --> 01:04:19,355 So, you have to just sit back and wait and hope 1298 01:04:19,355 --> 01:04:23,326 that everybody says, "You must see Tappin' Thru Life." 1299 01:04:36,206 --> 01:04:38,975 NARRATOR: At the opening night performance for Tappin' Thru Life 1300 01:04:38,975 --> 01:04:41,177 a jubilant audience had investors believing 1301 01:04:41,177 --> 01:04:43,279 that they had a hit on their hands. 1302 01:04:47,951 --> 01:04:49,619 Members of Broadway's elite, 1303 01:04:49,619 --> 01:04:52,055 including Brooke Shields, Tommy Tune, 1304 01:04:52,055 --> 01:04:54,290 Michele Lee and Savion Glover, 1305 01:04:54,290 --> 01:04:56,392 came out to celebrate with the cast. 1306 01:04:57,994 --> 01:05:00,997 WOMAN: So, now we're just gonna jump to press land, 1307 01:05:00,997 --> 01:05:02,966 if you don't mind. 1308 01:05:02,966 --> 01:05:05,568 So, uh, last night we opened 1309 01:05:05,568 --> 01:05:07,737 and it was a blast. 1310 01:05:07,737 --> 01:05:09,305 Sentiment was very positive 1311 01:05:09,305 --> 01:05:11,374 over Facebook, Twitter, Instagram. 1312 01:05:11,374 --> 01:05:14,377 Basically, there's been no negative feedback about the show. 1313 01:05:14,377 --> 01:05:15,612 Everybody loves it. 1314 01:05:15,612 --> 01:05:17,981 NARRATOR: In fact, the influential New York Times 1315 01:05:17,981 --> 01:05:19,649 described the show this way, 1316 01:05:19,649 --> 01:05:23,353 "Monday's performance, in front of a buoyant opening-night audience, 1317 01:05:23,353 --> 01:05:25,054 "was blistering hot." 1318 01:05:26,689 --> 01:05:28,224 Okay, well... 1319 01:05:28,591 --> 01:05:29,425 Thank you. 1320 01:05:29,425 --> 01:05:31,394 -If you guys can... -WOMAN: Yeah. 1321 01:05:31,394 --> 01:05:32,529 -...excuse us. -Okay. 1322 01:05:34,164 --> 01:05:35,331 Thank you... 1323 01:05:44,274 --> 01:05:46,276 Of course, the role that money plays 1324 01:05:46,276 --> 01:05:49,412 is extremely important in every production 1325 01:05:49,412 --> 01:05:52,782 because you can't have a show without money. 1326 01:05:52,782 --> 01:05:54,751 And so, it has to be very carefully watched. 1327 01:05:54,751 --> 01:05:58,087 It has to be really looked over like a Mother Hen 1328 01:05:58,087 --> 01:05:59,789 and the budget is always out there. 1329 01:05:59,789 --> 01:06:02,091 And we're always looking to see what happens. 1330 01:06:02,091 --> 01:06:03,459 And especially Leonard. 1331 01:06:03,459 --> 01:06:05,562 And so, you know, he does, 1332 01:06:05,562 --> 01:06:07,163 because that money is crucial. 1333 01:06:07,163 --> 01:06:09,132 Crucial, especially today. 1334 01:06:18,041 --> 01:06:21,511 When I did Dame Edna, we had not one seat sold. 1335 01:06:22,245 --> 01:06:24,247 We started previews on Monday. 1336 01:06:24,247 --> 01:06:28,418 And with no advertising we were selling out by Friday night. 1337 01:06:28,418 --> 01:06:30,587 I thought the same thing would happen here. 1338 01:06:31,287 --> 01:06:32,355 But it didn't. 1339 01:06:32,355 --> 01:06:34,123 WOLK: But you already have some money coming in. 1340 01:06:34,123 --> 01:06:35,692 -From what? -WOLK: The figures you showed. 1341 01:06:35,692 --> 01:06:37,560 But still if we only do 1342 01:06:37,560 --> 01:06:39,996 50,000 a week we're in trouble. 1343 01:06:41,397 --> 01:06:43,233 25,000 is not enough 1344 01:06:43,233 --> 01:06:44,634 to cover the weekly expenses. 1345 01:06:44,634 --> 01:06:46,803 You couldn't just call a few people and say listen 1346 01:06:46,803 --> 01:06:48,271 -Yeah, and they said no. -we've got this... 1347 01:06:49,105 --> 01:06:50,673 They said no. 1348 01:06:50,673 --> 01:06:52,609 Well, you did make some calls. 1349 01:06:52,609 --> 01:06:54,444 You've obviously done a 100 shows. 1350 01:06:54,444 --> 01:06:56,412 These things come up, they go down. 1351 01:06:57,313 --> 01:06:59,616 -What... -It was never as bad as this. 1352 01:06:59,616 --> 01:07:01,150 It was just a mistake to launch it 1353 01:07:01,150 --> 01:07:03,152 not having it fully capitalized? 1354 01:07:03,152 --> 01:07:04,053 Yes. 1355 01:07:05,221 --> 01:07:06,856 Which was your decision? 1356 01:07:06,856 --> 01:07:08,491 I regret it enormously. 1357 01:07:08,491 --> 01:07:12,428 I got a big lecture from Phil Smith about doing that. 1358 01:07:12,428 --> 01:07:14,430 He said, "You should know by now you should not have gone 1359 01:07:14,430 --> 01:07:17,100 "into rehearsal until you had all the money." 1360 01:07:18,101 --> 01:07:19,535 You know I've said all along that 1361 01:07:19,535 --> 01:07:22,839 the problem is we don't have money to advertise. 1362 01:07:22,839 --> 01:07:24,674 But that poster that's in the front. 1363 01:07:24,674 --> 01:07:26,175 Can't we put a label on there, 1364 01:07:26,175 --> 01:07:28,311 -that says "Blistering hot." -That costs money. 1365 01:07:28,311 --> 01:07:30,413 But that's, that's just one label. 1366 01:07:30,413 --> 01:07:31,314 It costs money. 1367 01:07:31,314 --> 01:07:33,650 Hundreds of dollars, don't you get it? 1368 01:07:33,650 --> 01:07:35,184 Look, you don't know the business. 1369 01:07:35,184 --> 01:07:37,320 So, don't start telling me what to do. 1370 01:07:39,188 --> 01:07:40,523 So, it must be pretty hard when you have to 1371 01:07:40,523 --> 01:07:42,258 tell someone you're closing the show. 1372 01:07:43,393 --> 01:07:44,294 It is. 1373 01:07:46,329 --> 01:07:47,864 I'll call the company together 1374 01:07:47,864 --> 01:07:49,332 and say I have to put up 1375 01:07:50,333 --> 01:07:51,267 the notice. 1376 01:07:51,267 --> 01:07:53,636 I mean, won't you tell Maurice in person? 1377 01:08:04,881 --> 01:08:05,915 NARRATOR: In fact, 1378 01:08:05,915 --> 01:08:06,883 Leonard would have to let it be known 1379 01:08:06,883 --> 01:08:09,419 that the show was going to close. 1380 01:08:09,419 --> 01:08:10,787 The same night 1381 01:08:10,787 --> 01:08:12,889 that Maurice Hines was being honored with a caricature. 1382 01:08:12,889 --> 01:08:14,123 At Sardi's. 1383 01:08:18,361 --> 01:08:19,228 Okay. 1384 01:08:22,598 --> 01:08:23,599 Got you. 1385 01:09:07,343 --> 01:09:08,711 Bob is saying we should wait till 1386 01:09:08,711 --> 01:09:11,714 after the show to tell him, but I can't do that. 1387 01:09:11,714 --> 01:09:13,616 It's purely by Union regulation. 1388 01:09:14,517 --> 01:09:16,786 Simply said, it has to be up a specific 1389 01:09:16,786 --> 01:09:20,957 amount of time the actors, the company and everything needs to know it 1390 01:09:20,957 --> 01:09:22,558 That's it. 1391 01:09:22,558 --> 01:09:24,861 And we'd have to pay more money, a lot more money 1392 01:09:24,861 --> 01:09:25,795 and we couldn't afford the money, 1393 01:09:25,795 --> 01:09:27,330 we'd have to pay the cast for another week. 1394 01:09:27,330 --> 01:09:30,366 We'd have to do a lot of... Make out a lot of payments that we didn't... 1395 01:09:30,366 --> 01:09:32,769 If we had the money we would have stayed open. 1396 01:09:32,769 --> 01:09:33,703 But we didn't have it. 1397 01:09:36,939 --> 01:09:39,976 SOLOWAY: Shall we go in the corner to talk? 1398 01:09:39,976 --> 01:09:41,544 Come, we have to talk a bit. 1399 01:09:41,544 --> 01:09:43,613 -You want me to talk... Okay. -Yeah. 1400 01:09:52,588 --> 01:09:54,323 I kept going 1401 01:09:54,323 --> 01:09:57,427 and collecting more and more debts. 1402 01:09:57,427 --> 01:10:01,564 Because we never made enough money to break even, weekly. 1403 01:10:03,032 --> 01:10:04,667 And Maurice was wonderful, 1404 01:10:04,667 --> 01:10:07,704 in that he offered to not take his weekly 1405 01:10:07,704 --> 01:10:09,305 choreography fee. 1406 01:10:14,944 --> 01:10:16,679 So, do you think this will be your last show? 1407 01:10:17,046 --> 01:10:19,348 Absolutely. 1408 01:10:19,348 --> 01:10:22,518 Because I would never be able to raise money. 1409 01:10:24,520 --> 01:10:26,422 It's too difficult these days. 1410 01:10:26,422 --> 01:10:28,391 All of my contacts are gone. 1411 01:10:37,033 --> 01:10:38,434 Did you see this? 1412 01:10:54,917 --> 01:10:57,854 So far, everything is going very well. 1413 01:10:59,622 --> 01:11:00,523 Period. 1414 01:11:01,824 --> 01:11:03,659 Moving out today. 1415 01:11:05,461 --> 01:11:06,395 Period. 1416 01:11:06,395 --> 01:11:08,331 Moving in tomorrow. 1417 01:11:09,732 --> 01:11:10,633 Period. 1418 01:11:26,949 --> 01:11:28,551 You know, you can just... 1419 01:11:28,551 --> 01:11:31,053 You can just drop this stuff off the balcony. 1420 01:11:36,826 --> 01:11:39,462 Those are all my boyfriends, ex boyfriends. 1421 01:11:41,397 --> 01:11:43,799 He was one of the top models in the world. 1422 01:11:43,799 --> 01:11:45,368 He hardly exercised 1423 01:11:45,368 --> 01:11:47,537 and he was built like a brick shithouse. 1424 01:11:47,537 --> 01:11:49,572 And the guy in the horseshoe frame, 1425 01:11:49,572 --> 01:11:52,808 comes from one of the wealthiest families in the world 1426 01:11:52,808 --> 01:11:56,445 His family discovered how to take oil out of water. 1427 01:11:56,913 --> 01:11:58,014 He was great. 1428 01:11:58,014 --> 01:11:59,715 And the one behind him 1429 01:11:59,715 --> 01:12:02,318 raised Arabian horses. 1430 01:12:06,522 --> 01:12:09,325 That's my parents, behind the lamp. 1431 01:12:12,829 --> 01:12:16,566 That's one my favorite pictures it's called Lonesome Cowboy. 1432 01:12:17,800 --> 01:12:19,435 That's me. 1433 01:12:19,435 --> 01:12:21,504 That's really me that painting. 1434 01:12:22,905 --> 01:12:26,475 I mean it's not really me, but that's emotionally me. 1435 01:12:27,143 --> 01:12:29,378 I don't know, I just plug into it. 1436 01:12:35,418 --> 01:12:37,987 NARRATOR: Leonard had one last goodbye to make. 1437 01:12:37,987 --> 01:12:39,388 To The Shubert Organization, 1438 01:12:39,388 --> 01:12:42,625 which had played such a big role in his career. 1439 01:12:42,625 --> 01:12:44,827 When I was on Take me along, 1440 01:12:44,827 --> 01:12:47,129 before it started, uh, 1441 01:12:47,129 --> 01:12:50,499 -MAN: Jackie Gleason? -Jackie Gleason said, 1442 01:12:50,499 --> 01:12:54,537 "Who got the most money on Broadway ever?" 1443 01:12:54,537 --> 01:12:56,038 And I checked around, I said, 1444 01:12:56,038 --> 01:12:59,041 "Mary Martin got $5000 a week." 1445 01:12:59,041 --> 01:13:01,644 He said, "I want $5001." 1446 01:13:03,045 --> 01:13:06,048 And when we went from Boston to Philly, 1447 01:13:06,048 --> 01:13:07,483 you know, in those days, 1448 01:13:07,483 --> 01:13:10,052 if you got a parlor car, 1449 01:13:10,052 --> 01:13:12,521 you got a freight car. 1450 01:13:12,521 --> 01:13:14,523 And the scenery would go with you. 1451 01:13:14,890 --> 01:13:15,925 So, from Boston... 1452 01:13:15,925 --> 01:13:17,793 He hired a 5-piece jazz band 1453 01:13:17,793 --> 01:13:21,063 that played on the train all the way from Boston to Philadelphia. 1454 01:13:21,063 --> 01:13:22,531 And when we got to Philadelphia, 1455 01:13:22,531 --> 01:13:24,834 he picked up the check for the entire company. 1456 01:13:24,834 --> 01:13:26,535 MAN: Leonard, why would you give this up? 1457 01:13:26,535 --> 01:13:27,870 Why would you ever give up theater? 1458 01:13:28,671 --> 01:13:30,206 I'm through with the business. 1459 01:13:30,206 --> 01:13:32,808 -What? -I am. 1460 01:13:32,808 --> 01:13:35,211 -This it? -I'm not going through that again. 1461 01:13:35,211 --> 01:13:37,847 It's all about money now, it's not, it's no fun. 1462 01:13:38,514 --> 01:13:39,715 The only one I would ever 1463 01:13:39,715 --> 01:13:41,984 think of doing, would be, uh, 1464 01:13:41,984 --> 01:13:44,820 Fellow Travelers, if we could find a star for it. 1465 01:13:44,820 --> 01:13:47,490 Otherwise, I don't, I don't want to do it anymore. 1466 01:13:48,891 --> 01:13:51,727 NARRATOR: So after producing and managing more than 100 1467 01:13:51,727 --> 01:13:55,097 productions on Broadway and in theaters around the world 1468 01:13:55,097 --> 01:13:58,601 Leonard was trading his home in the heart of the theater district. 1469 01:13:58,601 --> 01:14:01,704 For the peace and quiet of East Hampton, New York. 1470 01:14:09,178 --> 01:14:10,513 WOMAN: Very nice. 1471 01:14:19,188 --> 01:14:20,523 SOLOWAY: Hello. 1472 01:14:22,024 --> 01:14:23,492 Did you just call me? 1473 01:14:24,026 --> 01:14:25,061 It says Wankel. 1474 01:14:26,996 --> 01:14:28,731 I may have accidently. 1475 01:14:28,731 --> 01:14:30,132 Oh, I know. 1476 01:14:30,132 --> 01:14:32,601 Bob you don't have to pretend. 1477 01:14:32,601 --> 01:14:35,004 -I think... -Everybody knows about us. 1478 01:14:35,004 --> 01:14:37,940 Oh, all right, well, then you told everybody else. 1479 01:14:44,146 --> 01:14:47,016 To our dear friend Leonard Soloway. 1480 01:14:47,016 --> 01:14:51,253 Who has abandoned the metropolitan center of the world. 1481 01:14:51,253 --> 01:14:53,122 To live the leisure life 1482 01:14:53,122 --> 01:14:54,590 in East Hampton. 1483 01:14:55,157 --> 01:14:56,692 And we want him 1484 01:14:56,692 --> 01:14:59,729 to enjoy the very best of everything. 1485 01:14:59,729 --> 01:15:02,765 So we're gonna let him pick up the check today. 1486 01:15:04,600 --> 01:15:06,836 -Here, here! -Understand what the country life 1487 01:15:06,836 --> 01:15:08,904 -is now like. -Very good, thank you. 1488 01:15:08,904 --> 01:15:09,972 Cheers. 1489 01:15:44,206 --> 01:15:45,207 NARRATOR: It turns out, 1490 01:15:45,207 --> 01:15:46,242 that Leonard's heart 1491 01:15:46,242 --> 01:15:48,344 had never really left 42nd street. 1492 01:15:48,344 --> 01:15:49,678 LYNN WANKEL: I think he got bored. 1493 01:15:49,678 --> 01:15:50,813 And I think he missed 1494 01:15:50,813 --> 01:15:53,682 the, as we say, the razzle-dazzle stuff. 1495 01:15:53,682 --> 01:15:55,651 By the second winter coming in, 1496 01:15:55,651 --> 01:15:57,119 I think he just realized, 1497 01:15:57,119 --> 01:15:59,655 "Boy, I'm in the wrong place." 1498 01:15:59,655 --> 01:16:00,923 And I think also, he had many 1499 01:16:00,923 --> 01:16:02,825 friends out there from years ago. 1500 01:16:03,058 --> 01:16:03,993 Um. 1501 01:16:03,993 --> 01:16:06,062 Uh, Betty Bacall. 1502 01:16:06,062 --> 01:16:08,164 Uh, Jason Robards. 1503 01:16:08,164 --> 01:16:10,332 And I think, that was the Hamptons, 1504 01:16:10,332 --> 01:16:12,301 that he remembered and that he loved. 1505 01:16:12,301 --> 01:16:14,637 And it just wasn't there anymore. 1506 01:16:14,637 --> 01:16:15,838 NARRATOR: Leonard had also lived through 1507 01:16:15,838 --> 01:16:18,874 one of the darkest periods in modern history. 1508 01:16:18,874 --> 01:16:22,711 When AIDS swept through the gay community during the 1980s. 1509 01:16:23,345 --> 01:16:24,380 The deadly epidemic 1510 01:16:24,380 --> 01:16:25,948 took an enormous toll on Broadway. 1511 01:16:25,948 --> 01:16:29,985 With the loss of some of its brightest, artistic talent. 1512 01:16:29,985 --> 01:16:32,354 Including the creator of A Chorus Line. 1513 01:16:32,354 --> 01:16:34,957 Broadway's most iconic show. 1514 01:16:34,957 --> 01:16:35,858 Michael Bennett. 1515 01:16:36,292 --> 01:16:38,360 SOLOWAY: Michael was 1516 01:16:38,360 --> 01:16:40,296 you know, couple of times I was in trouble 1517 01:16:40,296 --> 01:16:43,766 with a show out of town and I would call him 1518 01:16:43,766 --> 01:16:46,735 and he would be there the next day on his own dollar. 1519 01:16:46,735 --> 01:16:49,104 And he would sit with the creative people, 1520 01:16:50,306 --> 01:16:53,008 and tell them what he thought 1521 01:16:53,008 --> 01:16:55,744 and he'd get on the plane and go back to New York. 1522 01:16:56,879 --> 01:16:58,848 LYNN WANKEL: You know he always said to me 1523 01:16:58,848 --> 01:17:00,216 I really shouldn't be alive. 1524 01:17:01,383 --> 01:17:03,152 He said it's really quite astonishing. 1525 01:17:03,152 --> 01:17:06,055 When I look at all the men and friends and lovers 1526 01:17:06,055 --> 01:17:06,989 that I've lost. 1527 01:17:06,989 --> 01:17:10,192 That why am I the one that's still here. 1528 01:17:10,192 --> 01:17:11,760 And, um... 1529 01:17:13,295 --> 01:17:16,432 I think that's part of his fearlessness. 1530 01:17:16,432 --> 01:17:19,301 I think, he feels he's here for a reason. 1531 01:17:19,301 --> 01:17:21,070 And, um... 1532 01:17:21,070 --> 01:17:23,806 He's gonna do it, he's gonna do what makes him happy. 1533 01:17:23,806 --> 01:17:26,308 And he's gonna do what keeps him in the industry. 1534 01:17:26,308 --> 01:17:28,344 Um, yeah. 1535 01:17:28,344 --> 01:17:31,347 NARRATOR: For Leonard Soloway, the revels have not ended. 1536 01:17:31,347 --> 01:17:35,217 He did in fact, put the play Fellow Travelers on its feet. 1537 01:17:35,217 --> 01:17:36,685 For an out of town tryout 1538 01:17:36,685 --> 01:17:39,722 in the picturesque, Long Island Town of Sag Harbor 1539 01:17:39,722 --> 01:17:43,125 only 2 hours and 45 minutes from Broadway. 1540 01:17:43,125 --> 01:17:45,194 With the backing of The Shubert Organization. 1541 01:17:45,194 --> 01:17:49,064 The play would have it's premiere at the Bay Street Theater. 1542 01:17:49,064 --> 01:17:52,935 WILSON: I arrived here, to begin tech ten days ago. 1543 01:17:52,935 --> 01:17:56,171 Leonard was here in the house ahead of me. 1544 01:17:56,171 --> 01:17:57,473 Ah, just as we were about to 1545 01:17:57,473 --> 01:17:59,808 begin spacing the play on stage. 1546 01:17:59,808 --> 01:18:01,277 And then he was here for 1547 01:18:01,277 --> 01:18:04,280 every single minute of our tech and preview process. 1548 01:18:05,347 --> 01:18:07,082 You don't get that with all producers. 1549 01:18:07,082 --> 01:18:09,084 You don't get that with all general managers. 1550 01:18:09,919 --> 01:18:12,821 I think of Leonard as an artist. 1551 01:18:13,889 --> 01:18:15,357 You have your tickets? 1552 01:18:15,357 --> 01:18:18,193 -Well I... -All you have to do is sit here and look handsome, you see 1553 01:18:18,193 --> 01:18:20,996 -And everything else falls into place. -I like to, I like... 1554 01:18:20,996 --> 01:18:25,301 I like telling them dirty stories it gets them off guard. 1555 01:18:29,905 --> 01:18:31,240 Leonard! 1556 01:18:31,974 --> 01:18:32,841 How are you? 1557 01:18:32,841 --> 01:18:34,410 I'm fine, how are you? 1558 01:18:34,410 --> 01:18:37,780 Leonard, I have missed you, sweetie. 1559 01:18:37,780 --> 01:18:40,082 I've missed you, I would rather have been with you. 1560 01:18:40,082 --> 01:18:42,818 I have something for you but I'll give it to you after the performance. 1561 01:18:42,818 --> 01:18:45,454 -So you don't have to... -You got a man in this bag? 1562 01:18:45,454 --> 01:18:46,388 I do. 1563 01:18:46,388 --> 01:18:47,790 SOLOWAY: Leonard Soloway. 1564 01:18:47,790 --> 01:18:48,924 -Leonard Soloway, -Congratulations. 1565 01:18:48,924 --> 01:18:51,026 Producer Extraordinaire. 1566 01:18:51,894 --> 01:18:53,495 That's a gorgeous outfit. 1567 01:18:53,495 --> 01:18:55,264 -Absolutely gorgeous. -Thank you, thank you. 1568 01:18:55,264 --> 01:18:57,866 -You got my message though, right? -What did it say? 1569 01:19:01,170 --> 01:19:03,138 No problem. 1570 01:19:03,138 --> 01:19:05,874 Five years ago, I discovered this script. 1571 01:19:05,874 --> 01:19:08,210 It was given to me by Evan Bergman 1572 01:19:08,210 --> 01:19:12,448 And I just plugged into the political aspects of it. 1573 01:19:12,448 --> 01:19:15,184 I mean, it's even more pertinent now. 1574 01:19:15,184 --> 01:19:18,053 NARRATOR: The play looks back at a turbulent time in America 1575 01:19:18,053 --> 01:19:20,823 when artists were accused and many blacklisted, 1576 01:19:20,823 --> 01:19:23,592 for being sympathetic towards communism. 1577 01:19:23,592 --> 01:19:25,561 Two men at the center of this storm 1578 01:19:25,561 --> 01:19:28,163 were Oscar winning Director, Elia Kazan 1579 01:19:28,163 --> 01:19:29,365 known as Gadg. 1580 01:19:29,365 --> 01:19:31,767 And the brilliant Playwright, Arthur Miller. 1581 01:19:32,201 --> 01:19:33,335 Close friends. 1582 01:19:33,335 --> 01:19:35,170 They soon became adversaries. 1583 01:19:35,170 --> 01:19:37,172 over the choice to remain silent 1584 01:19:37,172 --> 01:19:39,041 or to betray friends and colleagues 1585 01:19:39,041 --> 01:19:42,111 to the House Un-American Activities Committee 1586 01:19:42,111 --> 01:19:44,546 The inquisition destroyed lives. 1587 01:19:44,546 --> 01:19:46,181 And tore the country apart. 1588 01:19:47,883 --> 01:19:49,718 In the play, 1589 01:19:49,718 --> 01:19:53,455 Kazan tries to warn Miller about the scrutiny he could face in Hollywood. 1590 01:19:53,455 --> 01:19:55,324 Gadg says in that first act. 1591 01:19:55,324 --> 01:19:56,425 He says, 1592 01:19:56,425 --> 01:19:58,294 "There's no blacklist on Broadway." 1593 01:19:58,294 --> 01:19:59,261 And Miller says, 1594 01:20:00,462 --> 01:20:02,197 "Not yet." 1595 01:20:02,197 --> 01:20:04,166 I think a lot of the people last night 1596 01:20:04,166 --> 01:20:06,101 got emotionally involved with it. 1597 01:20:06,602 --> 01:20:08,470 And, uh. 1598 01:20:08,470 --> 01:20:11,073 What pleased me a lot was that 1599 01:20:12,107 --> 01:20:14,076 Before the lights even came up 1600 01:20:14,076 --> 01:20:17,012 on the curtain call, people were already standing. 1601 01:20:17,613 --> 01:20:20,482 Ah, which was a very good sign. 1602 01:20:20,482 --> 01:20:24,920 NARRATOR: And the play received enthusiastic reviews in local papers. 1603 01:20:24,920 --> 01:20:27,656 He has a path for us. 1604 01:20:27,656 --> 01:20:30,993 He knows he's got Broadway in mind for this play. 1605 01:20:35,898 --> 01:20:38,567 NARRATOR: Leonard decides to sell his recently acquired property. 1606 01:20:38,567 --> 01:20:41,937 And put all but a few of his possessions into storage. 1607 01:20:45,207 --> 01:20:51,613 ♪ Give my regards to Broadway 1608 01:20:51,613 --> 01:20:57,252 ♪ Remember me to Herald Square 1609 01:20:59,121 --> 01:21:05,461 ♪ Tell all the gang at Forty-Second Street 1610 01:21:05,461 --> 01:21:12,000 ♪ That I will soon be there 1611 01:21:13,001 --> 01:21:19,575 ♪ Whisper of how I'm yearning 1612 01:21:19,575 --> 01:21:21,443 ♪ To mingle with 1613 01:21:21,443 --> 01:21:22,678 SOLOWAY: You're coming? You're here? 1614 01:21:22,678 --> 01:21:26,081 ♪ Time throng 1615 01:21:26,081 --> 01:21:28,016 Where the fuck are they? 1616 01:21:28,016 --> 01:21:34,323 ♪ Give my regards to old Broadway 1617 01:21:34,323 --> 01:21:38,694 ♪ And say that 1618 01:21:38,694 --> 01:21:44,333 ♪ I'll be there e'er long 1619 01:21:52,975 --> 01:21:58,280 ♪ I'll be there e'er long ♪ 1620 01:21:59,148 --> 01:22:01,250 I've got several emails asking 1621 01:22:01,250 --> 01:22:04,319 is there a producer attached, how do I get involved? 1622 01:22:04,319 --> 01:22:06,688 I guess I'll just forward them all to you. 1623 01:22:06,688 --> 01:22:09,057 Absolutely, with a picture. 1624 01:22:09,057 --> 01:22:11,059 Yes, a picture. 1625 01:22:11,059 --> 01:22:13,028 NARRATOR: To begin his search for two stars. 1626 01:22:13,028 --> 01:22:15,364 To take on the lead roles in Fellow Travelers. 1627 01:22:15,364 --> 01:22:17,533 Leonard meets with Director, Michael Wilson. 1628 01:22:17,533 --> 01:22:20,369 And Public Relations Specialist, Keith Sherman. 1629 01:22:21,403 --> 01:22:23,639 New York post Theater Critic, Michael Riedel 1630 01:22:23,639 --> 01:22:26,441 called the script for Fellow Travelers, "Terrific." 1631 01:22:26,742 --> 01:22:27,810 He wrote, 1632 01:22:27,810 --> 01:22:29,511 "But the issue of finding a star..." 1633 01:22:37,786 --> 01:22:40,789 Still the quality of the material doesn't always outweigh 1634 01:22:40,789 --> 01:22:43,525 the importance of casting a big name. 1635 01:22:43,525 --> 01:22:46,295 Having stars is, is a magnet. 1636 01:22:46,295 --> 01:22:49,364 For attention, for audiences. 1637 01:22:49,364 --> 01:22:50,432 For ticket sales. 1638 01:22:51,600 --> 01:22:53,368 It's impactful. 1639 01:22:53,368 --> 01:22:55,337 NARRATOR: Whether or not a major star appears 1640 01:22:55,337 --> 01:22:57,172 for Leonard's return to Broadway. 1641 01:22:57,539 --> 01:22:58,640 He's back. 1642 01:22:58,640 --> 01:23:00,742 In the arena he loves. 1643 01:23:00,742 --> 01:23:03,712 SLATTERY: Once you breathe this air. 1644 01:23:03,712 --> 01:23:07,649 It's hard to go back and do anything else. 1645 01:23:07,649 --> 01:23:08,817 It's his life blood, I mean 1646 01:23:08,817 --> 01:23:12,287 he eats and drinks and sleeps and walks, 1647 01:23:13,388 --> 01:23:15,290 showbiz and theater. 1648 01:23:15,290 --> 01:23:16,291 He can't stop. 1649 01:23:16,825 --> 01:23:18,126 And it's not, 1650 01:23:18,560 --> 01:23:20,495 it's not madness. 1651 01:23:21,129 --> 01:23:23,365 It's natural for him. 1652 01:23:26,802 --> 01:23:28,604 JOE ALLEN: Look at the prices. 1653 01:23:28,604 --> 01:23:29,805 Now you gotta save up. 1654 01:23:29,805 --> 01:23:33,208 And rob a gas station before you go to the theater. 1655 01:23:34,810 --> 01:23:38,146 He was among the first customers to arrive. 1656 01:23:38,747 --> 01:23:40,816 That I remember. 1657 01:23:40,816 --> 01:23:43,085 It was plenty of bad behavior. 1658 01:23:43,085 --> 01:23:47,389 But he stayed within the reasonable confines. 1659 01:23:47,389 --> 01:23:50,292 We don't have a very high standard, that's why he's here. 1660 01:23:54,196 --> 01:23:57,466 ♪Give my regards to Broadway 1661 01:23:57,466 --> 01:24:01,470 ♪ Remember me to Old Times Square 1662 01:24:01,470 --> 01:24:05,274 ♪ Tell all the gang at Forty-Second Street 1663 01:24:05,274 --> 01:24:09,244 ♪ That I will soon be there 1664 01:24:09,244 --> 01:24:12,581 ♪ Whisper of how I'm yearning 1665 01:24:12,581 --> 01:24:16,785 ♪ To mingle with the old time throng 1666 01:24:16,785 --> 01:24:19,888 ♪ Give my regards to old Broadway 1667 01:24:19,888 --> 01:24:24,426 ♪ And say that I'll be there e'er long 1668 01:24:24,426 --> 01:24:30,232 ♪ I'll be there e'er long ♪ 1669 01:25:11,206 --> 01:25:12,541 DRASNER: I'm crazy, crazy busy. 1670 01:25:12,541 --> 01:25:17,879 I've got a show opening on Monday and I am out of my fucking mind. 1671 01:25:17,879 --> 01:25:20,716 -Hi, honey. -Do you need help with anything? 1672 01:25:20,716 --> 01:25:22,284 SOLOWAY: Can I get some vodka?