CAMBRIDGE, OCTOBER 1949
Following the multiple delays in the distribution of the modified and recut movie, its American fall premiere was finally scheduled to open in Cambridge’s boutique foreign movie house located near Harvard Square in late October. To capitalize on the interest of the college set, the preopening promotional program announced Miss Gloria Adams, the “Heroine of Hollywood,” was scheduled to recreate her highly acclaimed London preshow town meeting and accept questions from the audience. Ads promoting the coming attraction ran in the Cambridge Chronicle and the Harvard Crimson.
When opening night arrived, to a packed audience, Gloria confidently walked out to the lectern placed in the center of an empty stage. Behind her, the curtain was closed, and on it was pinned a blown-up image of a New Yorker cartoon depicting Gloria hanging “Slick Dick” Bailey.
Dressed in her trademark simple smock and chalk-white tennis shoes, she announced, “Hi, there, is there anyone in the audience who would like me to describe how it feels to defend your constitutional rights before the House Un-American Activities Committee? Please . . . by the whistling, clapping, and whooping,” the feisty lady said. “OK, but here’s the deal. I will tell you my version of what happened if you promise to ask me questions!”
Not knowing what to expect, an excited audience stood up and provided the modest and unassuming little old lady in tennis shoes with the first of what would be several standing ovations. Fascinated by her stories describing some of the more memorable incidents of her appearance before the “Big Bad Wolf,” with her quick wit and sarcastic sense of humor, one question after another cascaded from the audience.
Concerned that the audience was growing impatient to see the movie, the movie house manager ascended the stage to announce, “One more question and then we will start the movie.”
A strong voice from the rear of the audience asked, “Miss Adams, what is your most vivid memory of all that you have been able to accomplish?”
Taking her time to mentally scan all the drama that had been part of her more recent life, she smiled before saying, “I guess it’s my amazement of what an old broad can accomplish if she really becomes pissed off!”
* * *
IN THE FOLLOWING WEEKS, SIMILAR EVENTS ORGANIZED UP AND DOWN the East Coast began to adopt the character of town hall meetings. Frequently, the showing of the movie had to be delayed for as long as an hour because the discussion was so lively. In Gloria’s wake, theaters continued to play the film, drawing healthy crowds week after week. In many towns, the film was shown in larger theaters, and more showings were scheduled as ticket prices increased.
The “Heroine of Hollywood” was fast becoming the “Paul Revere” of the motion picture industry. Variety magazine reported: “Hollywood’s Loss is American people’s gain.” Miss Adams’s remarkable accomplishments served to warn grassroots America what can happen when fear of “isms” is allowed to override common sense.
* * *
REGARDED AS MERELY OVERNIGHT SUCCESSES, THE GENERAL PUBLIC was unaware of how much time, thought, and sweat had been required to generate large audience attention. Their unawareness was not shared by the small group of people who traditionally were searching for new material upon which they could create new Broadway musical shows.
* * *
ONE NIGHT, NATALIE AND GLORIA WERE ENJOYING THE HOSPITALITY of George White, the same Broadway director who had been responsible for directing Natalie’s first New York Broadway show. He had waited until the dessert had been served before asking the question, “How would you two feel about playing yourselves in a play written to tell your story? There is certainly no shortage of fresh material. Providing you agree to play yourselves, I think we could attract the cooperation of New York’s finest composers, choreographers, and best playwrights.
“Think about all the people who are already familiar with both of you and your work. When you add it all up, when has there had to be a very large audience who would be interested in attending a properly produced show?”
Gloria was intrigued with the idea. Natalie’s first reaction was not so positive. “George, this old actress would enjoy working with you one more time, but it’s important to me you understand I have moved on. Returning to the stage is not something I wish to do. For the first time in my life, I am living a life where people I admire respect me for my intelligence and regard my efforts to help others as a very serious endeavor. I can’t even begin to imagine what could persuade me to give up ‘Natalie’s Bridge.’”
Pleased with his former student’s response, George continued, “How would you react if I suggested we name the play Natalie’s Bridge and organize a musical around the idea of providing the Sentinels with the voice they need to reach grassroots America?”
Caught off guard, the surprised Natalie reflexively asked, “Could we tell the real story? Do you think the American public is prepared to accept the story behind the story of how concentrations of wealth and influence conspire to abuse the privilege of Democratic Free Enterprise for self-serving purposes?”
“Natalie, the real question you might be asking is, ‘Has the musical stage made sufficient progress in adapting itself to presenting subjects of social commentary where it is practical to believe they are ready for your satirical brand of commentary?’ I guess that is a question we will need to answer. Certainly, audience reactions to Gloria’s town meeting tour provides us with some indication, but it’s important you realize there is a world of difference between a movie audience and someone who has to pay a large price for the privilege of attending a live show.
“There is a good example of what we are discussing that is currently being performed. The play is called Call Me Madam. It was written and composed by Irving Berlin and it stars Ethel Merman. I seem to remember both of them are not only good friends of yours but are great admirers of your work. If you wouldn’t mind staying an extra night, why don’t I get some house tickets, and the four of us can see the play, and then you can decide for yourselves if the musical stage is ready for what we are discussing. I’ll phone Sardi’s for a reservation at my private table, and after the show, we can enjoy an excellent dinner and talk about the show. I am very interested in learning of your opinions. I might even be able to convince Irving and Ethel to join us for an after-theater dinner.”
Somehow, George’s talking about the theater and old friends lit a spark of curiosity. For more than 2 years, Natalie had managed to block the musical stage, her theatrical friends, and any curiosity about new productions from her mind. Here I am talking about the theater, considering returning to the stage, and anxious to visit with old friends. What has changed?
The memory of her earlier conversation with David flashed through her mind. Didn’t we talk about the possibility of developing the musical stage into what we referred to as the “Fifth Estate”? Doesn’t George’s idea represent a more pragmatic discussion of the same concept? Why couldn’t the American musical stage become a continuous running satirical voice designed to tell the story of the past, present, and future reoccurring Power-Cycle threats? What an excellent opportunity to inform the American public about what was and is really happening in our world of ever-increasing concentrated wealth and power.