|photo by Joseph Marzullo/WENN|
The bookwriter was fired during the San Francisco tryout; no replacement was hired, so lyricist O'Brien was enlisted to patch things up. The director — Ellis, of course — was fired on the way to New York, replaced by Robert H. Livingston (of The Me Nobody Knows). He was fired in Philadelphia. As the show came to Broadway, Harold Prince or Michael Bennett were said to have agreed to come in to help. (The producers were members of Prince's production staff, circa Follies.) The expected help never arrived, so the reins were handed to — who else? O'Brien.
The lyricist/librettist/director struggled to rewrite and restage the show. Three performances into the two-weeks of Broadway previews at the Shubert, the producers ran out of money altogether. "We have to open tomorrow," O'Brien was told. The Selling of the President did, and was gone Saturday night after five performances. O'Brien tells us that it was pretty awful, and let me concur: it was. (This was the show in which Karen Morrow — one of the most exciting musical comedy performers of the time — was starred but not given any songs.)
"Jack Be Nimble" ends — except for a brief afterword discussing O'Brien's arrival at the Old Globe in San Diego (where he eventually became Artistic Director) and the decline & death of Rabb — with the triumphant 1977 production of Porgy and Bess. This altogether thrilling production, which originated at the Houston Grand Opera, finally established O'Brien on Broadway. With typical modesty, he only briefly discusses Hairspray and doesn't go so far as to mention The Coast of Utopia, The Invention of Love, The Full Monty or Dirty Rotten Scoundrels. Yet he spends seven pages — for our enjoyment — on his biggest failure, The Selling of the President.
O'Brien also tells a hilarious tale about an opening night party when he wore the custom-made toupee he had just received as a gift from Ellis and Rosemary, and how it inevitably went flying from his head. "Jesus, Mary and Joseph!" gasped Helen Hayes. There are also some glimpses of the great Eva Le Gallienne — who, when she entered the newly-named Helen Hayes Theatre on West 46th Street, haughtily sniffed: "I will always prefer to think of this place as the Fulton." We can just imagine the line reading.
(Steven Suskin is author of the updated and expanded Fourth Edition of "Show Tunes" as well as “The Sound of Broadway Music: A Book of Orchestrators and Orchestrations,” “Second Act Trouble,” "A Must See," the "Broadway Yearbook" series, and the “Opening Night on Broadway” books. He can be reached at Ssuskin@aol.com.)
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