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Home , Alex Fernandez (actor), Judy Holliday, Laurette Taylor

by Wendy Johnson

www.stagerights.com CONCEALING Copyright © 2012 by Wendy Johnson All Rights Reserved

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PRODUCTION HISTORY Originally produced by Pacific Resident Theatre in Venice, CA, opening in March, 2012. Produced by Keith Stevenson Executive Producer and Artistic Director – Marilyn Fox Judy Holliday – Wendy Johnson Mother (Helen Tuvim), – Marilyn Fox – Sarah Zinsser , Richard Arens – Kevin Quinn Female Revuer (), Nurse, Yetta Cohn, Fan #3, Newsgirl, Creepy Voice #2, Queen – Melody Doyle Male Revuer #1 (), David Oppenheim, Ezio Penza, Bob Hope, Arlene Francis, Psychiatrist #1, Fan #1, Affiliate #1, Conspirator #1, Meter Reader #1, Creepy Voice #1, Newsboy #1, Hamlet – Terrance Elton Male Revuer #2 (Alvin Hammer), Director, Doctor, Groucho Marx, Bennett Cerf, Robert Green, Jimmy Durante, Psychiatrist #2, Grandmother, Uncle Joseph, Fan #2, Affiliate #2, Conspirator #2, Meter Reader #2, Newsboy #2, Louella Parsons, Voice of Manager – Dan Cole Replacement actress for Mother (Helen Tuvim), Laurette Taylor – Joan Chodorow Replacement actor for Gerry Mulligan, Richard Arens – Alex Fernandez Directed by Guillermo Cienfuegos Scenic Design and Lighting Design by Norman Scott Sound Design by Edan Norman Freiberger and John Masline Costumes by Sarah Zinsser Musical Direction and Original Compositions by Edan Norman Freiberger Stage Manager – Rick Garrison Props – Dan Cole Set Builders – Norman Scott, Guillermo Cienfuegos Musicians – Edan Norman Freiberger & John Masline

CAST OF CHARACTERS Cast Total: 4F, 3M JUDY HOLLIDAY: Brilliant actress best known for her Academy Award winning performance as Billie Dawn in in 1950. MOTHER (HELEN TUVIM): Needy and unstable; Judy’s protective and devoted mother. LAURETTE TAYLOR: Renowned actress best known for her superlative performance in The Glass Menagerie. TALLULAH BANKHEAD: Flamboyant actress notorious for her brazen sexuality and cutting wit. GERRY MULLIGAN: Respected jazz musician; good friend and companion to Judy. RICHARD ARENS: No-nonsense lawyer from Kansas City and the Staff Director of the Senate Internal Security Subcommittee. FEMALE REVUER (BETTY COMDEN): Part of a troupe called the Revuers, which performed with Judy in clubs such as the Village Vanguard in NYC from 1938 to 1944. MALE REVUER #1 (ADOLPH GREEN): Part of a troupe called the Revuers, which performed with Judy in clubs such as the Village Vanguard in NYC from 1938 to 1944. MALE REVUER #2 (ALVIN HAMMER): Part of a troupe called the Revuers, which performed with Judy in clubs such as the Village Vanguard in NYC from 1938 to 1944. NURSE: A sweet and efficient caretaker. DIRECTOR: All business, impatient. DAVID OPPENHEIM: Talented clarinetist; husband to Judy. YETTA COHN: Judy’s best friend and loyal confidante. DOCTOR: Professional. EZIO PENZA: Celebrated Italian opera singer. BOB HOPE: Beloved comedian and actor. GROUCHO MARX: The iconic comedian and film and television star. ARLENE FRANCIS: Good natured; best known as a panelist on the TV show What’s My Line? BENNET CERF: Witty, best known as a panelist on the TV show What’s My Line? ROBERT GREEN: PR man and trusted advisor to Judy. JIMMY DURANTE: Popular personality and comedian known for his distinctive raspy voice. PSYCHIATRIST #1 & #2: Knowledgeable and insinuating. GRANDMOTHER: Bossy Russian immigrant. FAN #1, #2 & #3: Overzealous.. UNCLE JOSEPH: Overbearing uncle to Judy; Helen’s brother.

CAST OF CHARACTERS (CONT’D) AFFILIATE #1 & #2: Charming and polite. METER READER #1 & #2: Oblivious. CONSPIRATOR #1 & #2: Deadpan. NEWSBOY #1 & #2: NYC paper hawkers. NEWSGIRL: NYC paper hawker. MANAGER’S VOICE: All business. CREEPY VOICES #1 & #2: Sinister callers. LOUELLA PARSONS: Snarky gossip columnist. HAMLET: Actor portraying the melancholy Dane. QUEEN: Actress doing her best to act with Judy’s erratic portrayal of Ophelia.

NOTE ON CASTING • MOTHER also plays LAURETTE TAYLOR. • GERRY MULLIGAN also plays RICHARD ARENS. • FEMALE REVUER also plays NURSE, YETTA COHN, FAN #3, NEWSGIRL, CREEPY VOICE #2, QUEEN. • MALE REVUER #1 also plays DAVID OPPENHEIM, EZIO PENZA, BOB HOPE, ARLENE FRANCIS, PSYCHIATRIST #1, FAN #1, AFFILIATE #1, CONSPIRATOR #1, METER READER #1, CREEPY VOICE #1, NEWSBOY #1, HAMLET. • MALE REVUER #2 also plays DIRECTOR, DOCTOR, GROUCHO MARX, BENNET CERF, ROBERT GREEN, JIMMY DURANTE, PSYCHIATRIST #2, GRANDMOTHER, UNCLE JOSEPH, FAN #2, AFFILIATE #2, METER READER #2, CONSPIRATOR #2, NEWSBOY #2, LOUELLA PARSONS, MANAGER’S VOICE.

SETTING Judy Holliday’s house in Upstate New York, spring 1965

RUN TIME 85 minutes

AUTHOR’S NOTES

Concealing Judy Holliday predominantly takes place in the mind of Judy in a nonlinear, stream of consciousness fashion, so it is important when staging the play that the transitions are fluid as memories flow in and out of her mind seamlessly, as dreams do. Lighting and music help tremendously with creating this effect, as does the set. The original production, staged in a tiny black box theatre, had a very minimal set. The bed was center stage, and when the play began, fabric that had been hidden within the covers was unfurled and covered the entire stage, turning it into Judy’s bed, as it were. There were three platforms upstage left, right and center that were occupied by Tallulah, Mother and Arens, respectively. Black cubes and chairs became whatever a particular scene called for. Costumes were very simple as well, with the Male Revuers in tuxedos and the Female Revuer in a black and white dress. Since the Revuers play so many different parts and sometimes switch characters very quickly, there were no costume changes, just an addition of an apron, a pipe, a hat or what have you, as needed. Tallulah, Mother, and Arens also wore costumes in a black and white motif. The only costume of color was a bare-footed Judy’s bright pink nightie. After some performances, we would have talk-backs with the audience, and the most frequently asked question was, “Why is it called Concealing Judy Holliday?” Well, there was a duality to her personality that was one of the most intriguing things I discovered at the beginning of my research. She had a genius level I.Q., but was best known for playing characters, who, on the surface at least, were not the sharpest tools in the shed. Most notable was her portrayal of Billie Dawn in Born Yesterday. The public had conflated Judy with Billie, and she knew this all too well. So when she was called before the Senate Internal Subcommittee during the Red Scare, she was able to avoid naming names or implicating herself by intelligently playing dumb. As remarkable and revealing as Judy was as an actress, so was she highly skilled at the art of concealing. This play is an imagining of the regrets and remembrances of a brilliant actress whose most celebrated character became a blessing and a curse. It is a meditation on life and death, of the joy and the sorrow that make up the fabric of our lives.

CONCEALING JUDY HOLLIDAY – PRODUCTION SCRIPT 1

PROLOGUE: as the audience enters the theatre, magical music is playing. JUDY lies on her bed, center stage, doing a crossword puzzle. The NURSE enters intermittently to check on her. Judy starts to doze off. The house lights go down and our play begins. DIRECTOR enters with a slate. DIRECTOR (slating) Action! The lighting on stage is very low, only faintly illuminating the center of the bed. Three separate black curtains conceal the upper portion of the stage. DAVID, GERRY, MOTHER, DOCTOR, and YETTA slip in from behind the curtains and surround the bed. They unfurl fabric from the bedding, covering the entire stage, turning it into Judy's bed, as it were. As they are doing this, soft music plays with voices interspersed. YETTA (V.O.) You’re just dreaming. DAVID (V.O.) I love you. AREN (V.O.) Do you believe in God? MOTHER (V.O.) You sweet swirl of a girl. DAVID, GERRY, MOTHER, and YETTA climb into bed, surrounding JUDY. DOCTOR stands to the side, out of the light. MOTHER Scratch my back. DAVID Rub my feet. GERRY Kiss me. YETTA Pet me. DAVID No, pet me. GERRY No, Judy, kiss me. I deserve it most! MOTHER I asked first. Scratch my back. JUDY Shhh! I'm trying to sleep.

2 CONCEALING JUDY HOLLIDAY – PRODUCTION SCRIPT

MOTHER I'm the one who loved you the most. I gave you life. I carried you for nine months. YETTA I know you better than anyone. DAVID But I always loved you… even after. GERRY I loved you best. MOTHER I loved you. You took care of me. DAVID I loved you because you were mine. GERRY I loved you because you completed me. YETTA I loved you for who you were. GERRY I'll miss you the most. YETTA No, I will. MOTHER I need you the most. What will I do without you? JUDY What? Where am I going? DOCTOR That lump. It must be taken out right away. JUDY Tomorrow is opening night! I have to stay! DOCTOR You need to go to the hospital. JUDY sits up in bed. JUDY No! Please!! Just one more day! GERRY, DAVID, DOCTOR, and YETTA slip behind the black curtains. MOTHER It's all right, Judy. You're just dreaming. JUDY Mommy! I'm sorry. I didn't mean to be bad.

CONCEALING JUDY HOLLIDAY – PRODUCTION SCRIPT 3

MOTHER There now. You are my angel. JUDY I never was enough. MOTHER Shhh. Think happy thoughts, you sweet swirl of a girl. In darkness, MOTHER exits. Lights come up. NURSE enters with a bouquet of flowers. NURSE Good to see you awake, Miss Holliday. Look at these! Aren't they beautiful? The note says they are from "An Adoring Fan" who wants you to "Get well in a hurry." JUDY How sweet. NURSE Wow. You finished this crossword already? JUDY Yeah. NURSE In pen?! JUDY It's just the Tuesday one. It's too easy. GERRY enters. GERRY Hey, baby. JUDY Gerry. NURSE Keep it brief, Mr. Mulligan. She needs her rest. NURSE exits. GERRY takes off his shoes and sits next to JUDY on the bed, putting his arm around her. GERRY It's a beautiful day today. JUDY Mmmm. GERRY Spring has sprung. JUDY Mmmm. GERRY So... what's your story today, beautiful?

4 CONCEALING JUDY HOLLIDAY – PRODUCTION SCRIPT

JUDY It's a tragedy with comic elements. GERRY (chuckling) Very funny. Beat. JUDY I keep thinking about it. GERRY That play? JUDY Laurette could have been my ticket. To being taken seriously. GERRY I take you seriously. JUDY I never got to play Ophelia. Any of those parts. Laurette was my Ophelia. Do you think I could have done it? GERRY You were doing it. JUDY I was? GERRY Yes. Try to think about something else. JUDY (in pain) Can you get the nurse? GERRY Nurse? Nurse! (gets out of bed) Nurse! NURSE hurries in. NURSE How are you feeling? JUDY It hurts. NURSE On a scale of one to ten— ten being the worst? JUDY Five.

CONCEALING JUDY HOLLIDAY – PRODUCTION SCRIPT 5

NURSE I'll give you a shot. You'll feel a pinch on your arm. NURSE mimes giving JUDY a shot. JUDY looks out, dazed. Dreamy music plays. Lights dim. GERRY (singing) You made me love you. NURSE They say the hearing is the last to go. MOTHER and DAVID emerge from behind the curtains. MOTHER Don't leave us. DAVID Stay. GERRY and MOTHER slip behind the curtains. DAVID disappears behind the headboard of the bed. NURSE stands to the side and makes the sound of a phone ringing. MALE REVUER #1 pops up from behind the headboard, holding a phone. JUDY sits up in bed. Male Revuer #1 gives the phone to Judy and exits. Judy stares at the ringing phone for a couple rings, then picks up, listens. Nurse exits. The black curtain on upstage left comes down, revealing TALLULAH BANKHEAD, who stands on a platform behind a microphone. She occupies this space until her final scene in the play. TALLULAH This is The Big Show with Tallulah Bankhead. Who is this? JUDY (in Billie Dawn voice) This is Judy Holliday, that's who. TALLULAH This is Tallulah, Judy. JUDY Hey, Tallulah. How ya do? Ya still single? TALLULAH Judy, let me tell you right now, before we get involved, my marital status is no concern of yours. And it has nothing to do with the show. The only thing I'm interested in is this program. That's the most important thing in my life. Now is that clear? JUDY Sure… you're still single, huh? TALLULAH Judy!! JUDY Whaaat?!

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TALLULAH Enough of that rubbish. Judy darling, congratulations. We're all so excited you won the Oscar! JUDY Tallulah, don't you think it's time you won an Oscar— or even a Charlie, or a Henry, or a George? TALLULAH Now look, Judy, don't waste time talking about that… this is long distance. JUDY Oh, yeah, it's costin' me money— I better hang up. TALLULAH No, darling— it's not costing you— I'm the one who is calling. Everybody in the studio is so thrilled. I've got them all here with me— Ezio Pinza— MALE REVUER #1 pops out as EZIO PINZA. Pops back. Bob Hope— MALE REVUER #1 pops out as BOB HOPE. Pops back. Groucho Marx— MALE REVUER #2 pops out as GROUCHO MARX. Pops back. JUDY Gee, all those fellas there with ya, and you're wastin' your time callin' me. TALLULAH Everybody here wants to talk to you, darling. Here's Ezio Pinza. EZIO PINZA pops out. EZIO PINZA Hello, Miss Holliday. JUDY How ya do. EZIO PINZA My congratulations to you, Miss Holliday. JUDY Thank you. Thank you very much. Ummm… Do you like Tallulah? EZIO PINZA Oh yes. Very much. JUDY Are you married? EZIO PINZA Yes, I am. JUDY Lemme talk to one of the other fellas. EZIO PINZA pops back.

CONCEALING JUDY HOLLIDAY – PRODUCTION SCRIPT 7

TALLULAH Hello? Hello, Judy? JUDY Which fella are you? TALLULAH This is Tallulah! JUDY You're talkin' too low again, Tallulah. TALLULAH Judy darling, now I want you to talk to Bob Hope. BOB HOPE pops out. BOB HOPE Hello, Judy baby. This is Bob "I'm Glad You Won the Oscar" Hope telling you to stay right in there and keep on punching. JUDY How ya do. Do you like Tallulah? BOB HOPE Oh sure. JUDY Are you married? BOB HOPE Yes. JUDY Happily? BOB HOPE Yes. JUDY (disappointed) Lemme talk to one of the other fellas. BOB HOPE pops back. TALLULAH And now Judy darling, hold on— Groucho Marx wants to talk to you. GROUCHO MARX pops out. GROUCHO MARX Hello, Judy, this is Groucho. Congratulations. JUDY Thank you very much… hey, you like Tallulah? GROUCHO MARX Like a brother.

8 CONCEALING JUDY HOLLIDAY – PRODUCTION SCRIPT

JUDY (miffed) Lemme talk to one of the other fellas. GROUCHO MARX There are no other fellas around. GROUCHO talks directly to JUDY. Say, how 'bout you and me going out on a date tonight? JUDY (confused) Tonight?! I'm in New York. GROUCHO MARX Well, you go to the and I'll go to the Brown Derby. Separate checks of course. GROUCHO grabs the phone from JUDY and exits. NUSRE enters. TALLULAH And now, Judy darling… I saved her for the last. Here she is, Miss Ethel Barrymore. Light goes out on TALLULAH. JUDY (to Nurse) Miss Barrymore… NURSE Huh? JUDY If I may step out of character for a moment, may I say that of course it was a thrill to win the Academy Award, but the extra thrill of having you accept my award for me was really more than I deserve. It's something I'll never forget, and you'll always have my eternal thanks. NURSE That was a lovely speech. JUDY Thank you… (confused) Miss Barrymore. NURSE Do you want to watch some television? JUDY Sure. NURSE I'll flip it on for ya… (mimes turning on the television) There. This is a good show. SOUND: "WHAT'S MY LINE?" MUSIC

CONCEALING JUDY HOLLIDAY – PRODUCTION SCRIPT 9

JUDY looks ahead, as if watching television. NURSE exits. The MALE REVUERS (as ARLENE FRANCIS and BENNET CERF) and ARENS enter with chairs. They sit and put on blindfolds. TALLULAH Now we come to the special feature of our program, the appearance of our Mystery Celebrity. My friends on the panel would know our guest on sight, immediately, so we have provided them with blindfolds. Are the blindfolds all in place, panel? ARLENE Of course. BENNET Certainly. ARLENE and BENNET look at ARENS, who says nothing. TALLULAH Good. Will you come in, Mystery Celebrity, and sign in, please. NURSE runs in with a chalkboard and a piece of chalk. JUDY gets out of bed and signs her name on the chalkboard. Nurse shows the chalkboard to the audience and exits. JUDY sits at the end of the bed, smiling and happy to be on the show. All right, panel, as you know, in the case of our Mystery Celebrity we dispense with all the usual preliminaries and get right down to the general questioning. Miss Arlene Francis, you begin. ARLENE Are you a member of the entertainment world? JUDY (in a husky masculine voice) Yes. ARLENE Have you ever been in pictures? JUDY (still husky) Yup. ARLENE Hmmm. Are you, um, let me see about your sex now… Are you, um… male? JUDY (husky) No. ARLENE There was an awfully good chance. TALLULAH Mr. Bennet Cerf, your turn. BENNET May I presume that when you're in a more amiable frame of mind that you speak with a sweeter tone than you have right now?

10 CONCEALING JUDY HOLLIDAY – PRODUCTION SCRIPT

JUDY (husky) Sometimes. BENNET Ah… you say you have been in pictures. Have you ever also played on a New York stage? JUDY (husky) Yes. BENNET It's like conferring with a monkey. When you played on a New York stage did you play a leading role in the play in which you appeared? JUDY (in a high voice) Yes. BENNET Was it by any chance a play produced by ? JUDY (normal voice) Yes. BENNET Well, that narrows it down to about eighty plays. Before you appeared in this play were you part of an act that did a little night club job? JUDY (normal voice) Yes. BENNET Well, I can't stall around any longer because that beautiful voice you started with can only belong to the lovely Judy Holliday. SOUND: AUDIENCE CLAPPING ARLENE and BENNET remove their masks. ARENS doesn't. TALLULAH Well I must say we are very pleased and very proud to have an Oscar-winner on What's My Line?. My only regret is we didn't give them a much rougher time of it. JUDY I wanted to. I was all prepared. (to Bennet) You were too quick. TALLULAH You did a magnificent job trying to fool us. BENNET Why don't you do that Born Yesterday voice once for us? My wife's been trying to imitate that for the last five years.

CONCEALING JUDY HOLLIDAY – PRODUCTION SCRIPT 11

TALLULAH Would you say in the Born Yesterday voice, "Bennet Cerf is too smart"? JUDY Bennet Cerf is too smart.

SOUND: CLAPPING & LAUGHING JUDY stands up and walks over and shakes ARLENE's hand, then BENNET's. ARENS doesn't offer his. Lights change. TALLULAH Now it's my pleasure to introduce a lawyer from Kansas City and the Staff Director of the Senate Internal Security Subcommittee. His book, Too Many Commies in the Kitchen Spoil the Soup, is on the best-sellers list. Please welcome Mr. Richard Arens.

SOUND: DOOM ARENS stands and whips off his mask. ARENS The Senate Internal Security Subcommittee will come to order! ARENS exits. ARLENE and BENNET exit. The curtain upstage right comes down, revealing MOTHER. On her platform is a hollow cube, representing a stove. SOUND: GAVEL MOTHER Oh, no! MOTHER, YETTA, and ROBERT GREEN swarm in on JUDY. What is she going to do? YETTA Don't panic. MOTHER They think she's a Columnist. YETTA Communist. GREEN Mrs. Tuvim, we've been over this. Panicking is not helpful. We're here to strategize. MOTHER I can't understand why these people are trying to persecute my Judy. YETTA She's always been apolitical. JUDY Yeah. A political nobody. YETTA Cowards. Ignorant, fascist bigots!

12 CONCEALING JUDY HOLLIDAY – PRODUCTION SCRIPT

GREEN Yes, they are. I'm in complete agreement. But let's keep emotion out of this. One thing seems very clear to me. Judy, I think what you don't want is to appear intelligent. YETTA That's your advice? How's that going to help her? GREEN If you conform to the committee's idea of who they think you are, they'll think you are who you appear to be on screen. JUDY (in Billie Dawn voice) Would ya do me a favor, Senators? Drop dead. MOTHER You can't say that! JUDY I'm kidding, Mother. MOTHER This isn't a game! JUDY You think I don't know that? I'm terrified! GREEN You represent a mistress, a darling piece of fluff. They'll be . Their wives will want to know what you were like, what you wore. How can they take you seriously as a political figure? YETTA But articles have been published that mention her IQ, her highbrow reading tastes. It's public knowledge that she's not a nit wit. GREEN People believe what they see over what they read. And on screen they see a totally believable dumb blonde. MOTHER Judy? JUDY Hmmm. MOTHER I know that look on your face... what are you going to do? The curtain upstage center comes down, revealing ARENS behind a podium. He pounds a gavel. MOTHER runs to her platform and sits on a chair. YETTA and GREEN and rush off. ARENS Will you stand and be sworn? JUDY stands and looks out, as if seeing ARENS and the Senate Subcommittee.

CONCEALING JUDY HOLLIDAY – PRODUCTION SCRIPT 13

ARENS (CONT’D) Please raise your right hand. JUDY raises her right hand. Do you solemnly swear that the testimony you are about to give in the matter now pending before the subcommittee of the Judiciary Committee of the United States Senate, will be the truth, the whole truth and nothing but the truth, so help you God? JUDY I do. MALE REVUERS pop out. MALE REVUER #1 I now pronounce you man and wife. MALE REVUER #2 You may kiss the bride. MALE REVUERS pop back. ARENS You may be seated. JUDY sits on the edge of the bed. Is the witness comfortable? Can we get you anything? JUDY (in Billie Dawn voice) How 'bout a ham 'n' cheese sandwich on rye toast, not too brown, with plenta mustard and a bottla beer? ARENS says nothing. Just kidding. I'm so nervous. ARENS There is nothing to be nervous about, my dear. Now then. Kindly identify yourself by name and residence. JUDY Judy Holliday, 158 Waverly Place. . ARENS Your name is "Judy Holliday" as a stage name, is it? JUDY Yes. ARENS What other name have you used in the course of your life? JUDY Judith Tuvim. ARENS Tuvim?

14 CONCEALING JUDY HOLLIDAY – PRODUCTION SCRIPT

JUDY Tuvim. T-u-v-i-m. MALE REVUER #2 pops out. MALE REVUER #2 Uh, oh! That sounds Jewish! MALE REVUER #2 pops back. ARENS Do you have a married name? JUDY Yes. Mrs. David Oppenheim. MALE REVUER #1 enters as DAVID. DAVID (spotting Judy across the park) There she is! JUDY Oh! You startled me. DAVID Sorry. I was just so excited to see you. JUDY It's nice to see you too. DAVID You don't know who I am, do you? JUDY Oh, I remember you. (mimes playing a clarinet) Toot-de-doot-doot-do. DAVID That's right! JUDY See, David Oppenheim? I remember. DAVID That's me. JUDY Lennie Bernstein introduced us. DAVID At Cafe Society Downtown. JUDY Right!

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