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CONCEALING JUDY HOLLIDAY Copyright © 2012 by Wendy Johnson All Rights Reserved

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CONCEALING JUDY HOLLIDAY Copyright © 2012 by Wendy Johnson All Rights Reserved by Wendy Johnson www.stagerights.com CONCEALING JUDY HOLLIDAY Copyright © 2012 by Wendy Johnson All Rights Reserved All performances and public readings of CONCEALING JUDY HOLLIDAY are subject to royalties. It is fully protected under the copyright laws of the United States of America, of all countries covered by the International Copyright Union, of all countries covered by the Pan-American Copyright Convention and the Universal Copyright Convention, and of all countries with which the United States has reciprocal copyright relations. All rights are strictly reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, by any means, including mechanical, electronics, recording, or otherwise, without the prior written permission of the author. Publication of this play does not necessarily imply that it is available for performance by amateurs or professionals. It is strongly recommended all interested parties apply to Steele Spring Stage Rights for performance rights before starting rehearsals or advertising. No changes shall be made in the play for the purpose of your production without prior written consent. All billing stipulations in your license agreement must be strictly adhered to. No person, firm or entity may receive credit larger or more prominent than that accorded the Author. For all stage performance inquiries, please contact: Steele Spring Stage Rights 3845 Cazador Street Los Angeles, CA 90065 (323) 739-0413 www.stagerights.com 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), Laurette Taylor – Marilyn Fox Tallulah Bankhead – Sarah Zinsser Gerry Mulligan, Richard Arens – Kevin Quinn Female Revuer (Betty Comden), Nurse, Yetta Cohn, Fan #3, Newsgirl, Creepy Voice #2, Queen – Melody Doyle Male Revuer #1 (Adolph Green), 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 Born Yesterday 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.
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