VOICE Journal of the Alex Film Society Vol. 12, No. 2 July 29, 2006, 2 pm & 8 pm 07/06 of theTHEATRE Morton DaCosta’s production of Meredith Willson’s Perspective: ROBERT PRESTON By Linda Harris Imagine The Music Man without he is efficient, inventive and a help to the authors,’’ the Robert Preston as Professor Harold Hill! critic Walter Kerr wrote of his work. Preston remarked, “The critics all came to see the Hollywood actor fall It almost happened. on his butt, I guess. Just the fact that I didn’t got me First some background. While appearing in ‘’Idiot’s decent notices.” Delight” at the Pasadena Community Theatre, Robert In 1951, stage producers Martin and Feuer Preston was spotted by a talent scout and signed to a suggested that Meredith Willson write a musical motion-picture contract with comedy about his Iowa boyhood. With his Paramount. His first major role ‘’Preston has energy and he has common touch it was sure to be a hit they was in Cecil B. DeMille’s Union said. Seven years and thirty revisions later, Pacific (1939) playing Barbara reality,’’ the director observed. he finally got what turned out to be, The Stanwyck’s husband. ‘’He’s an actor who can project Music Man, which Willson said was “An ‘’I’d get the best role in himself larger than life”. Iowan’s attempt to pay tribute to his home every B picture and the second state.” best in the A pictures,’’ he later recalled. Important parts Willson’s producers approached Milton Berle, Art in Beau Geste (1939), Northwest Mounted Police (1940) Carney, Danny Kaye, Phil Harris and Ray Bolger was to and This Gun For Hire (1942) found him supporting play the brass, fast-talking con man – Professor Harold Gary Cooper, Alan Ladd and other major stars of the Hill – they all turned it down. But Morton DaCosta, 40’s. who directed the show, had seen Preston in summer- Preston served in the Army Air Forces during stock shows and had been impressed. ‘’Preston has World War II, then returned to Hollywood and resumed energy and he has reality,’’ the director observed. ‘’He’s making films. He came east in 1951 to replace Jose an actor who can project himself larger than life”. Ferrer on Broadway in ‘’Twentieth Century,’’ and Preston auditioned for DaCosta and Willson and remained in New York, quickly establishing himself as after they heard him sing ‘’Trouble,’’ considered the a particularly versatile theatrical actor. ‘’At all times, Continued on Page 2 The Music Man, Robert Preston ............. 1 Character Actors......................................... 5 Perspective: Shirley Jones ........................ 3 Perspective: Meredith Willson ................ 7 Feature credits ............................................ 4 Calendar ........................................................ 8 ROBERT PRESTON, Cont’d from page 1 most difficult song in the on behalf of DaCosta and score, they both jumped on Willson convinced the execs stage and offered him the role that you could take a non-box of Professor Harold Hill. office guy off Broadway and With 1,375 performances put him in a big picture! of The Music Man under his The Music Man made belt, and a Tony Award for money for Warner Bros. and his performance, incredibly, gave Robert Preston the best- Preston was not considered for known screen role of his career. the movie role of Harold Hill. Preston continued to appear Warner Bros. laid claim to both on Broadway and in film, The Music Man (1962), and even garnering an Oscar™ had their hearts set on casting nomination for his hilarious either Frank Sinatra or Cary performance in Blake Edwards’ Grant as Hill. (Yikes!) DaCosta Victor/Victoria (1982). (who was also directing the In 1987, Robert Preston screen version) cried “Hell, no.” died at age 68 of lung cancer in DaCosta and Willson fought Santa Barbara, California. Warners and won – basically they told the execs, “No Robert Linda Harris, who last wrote on Ingrid Bergman for Notorious, is a frequent Preston, no movie”. That and an contributor to the Voice of The Theatre. agent who acted as a mediator VOICE of the THEATRE – – Vol. 1, No. July 9, 006 PERSPECTIVE: Shirley Jones by Ronald Bonk how business seems to Greenwood. Shirley’s performance have been destined for in the film garnered numerous SShirley Jones from the favorable reviews. Miss Jones very beginning. Her mother, the has since also played the role of wife of a Pennsylvania brewery Laurey on stage in Paris, Rome and proprietor, named her only child throughout the US in summer stock. after Shirley Temple, a top film star of 1934, the year Jones was Rodgers and Hammerstein re- born. Shirley demonstrated her teamed Miss Jones and Gordon strong vocal talents right from MacRae for their moving 1956 the start. By the time she was film version of Carousel. The part five years old she was singing of Julie won Shirley the choice church solos to great acclaim. cover spot on Life magazine which Her parents decided to nurture proclaimed the young starlet “a their daughter’s natural gifts by show business phenomenon.” providing vocal training with coach Following the release of Carousel, Ken Welch in nearby Pittsburgh. Miss Jones married musical comedy vocal talents, Richard Rodgers singer Jack Cassidy whom she and Oscar Hammerstein thought By the time Shirley graduated with met while rehearsing for a stage Miss Jones would be ideal for the honors from high school in 1952, version of The Beggar’s Opera in part of Laurey in their upcoming she had appeared in numerous Cambridge, Massachusetts. With film version of Oklahoma! and school stage productions and had this venture she became the step immediately signed the 19 year even won a state-wide singing mother of David Cassidy, Jack’s old to a seven year contract. contest. Soon after she was chosen son from a previous marriage. as Miss Pittsburgh which lead The newlyweds embarked on their to her placing second as Miss With her wholesome good own night club tour and appeared Pennsylvania for that year’s Miss looks and strong vocal talents, together on television and in America contest. This was followed Rodgers and Hammerstein summer stock. During this time by a handful of stage productions thought Miss Jones would be Shirley appeared in two more films: for the Pittsburgh Civic Light Opera April Love (1957) with Pat Boone including Lady in the Dark and ideal for Oklahoma... and Never Steal Anything Small Call me Madam. But it was a brief (1959) opposite James Cagney. vacation in the summer of 1953 But it was her performance in a To increase Miss Jones professional that gave Miss Jones her big break. “Playhouse 90” television drama experience, Rodgers and entitled The Big Slide that lead Hammerstein cast her in the chorus Stopping over in New York City actor Burt Lancaster to suggest of South Pacific followed by a on her way to attend a Junior her for the role of prostitute Lulu small role in Me and Juliet. By the College in New Jersey, Miss Jones Bains in his upcoming film version time Me and Juliet began its road learned that her old vocal coach, of Elmer Gantry (1960). This risky tour later that season Miss Jones Ken Welch, had arranged for her “good girl” to “bad girl” change was promoted to leading lady. to audition for theatrical agent of pace paid off. Not only was it Gus Schirmer. Schirmer was so met with great critical acclaim Following a successful Hollywood impressed with what he heard and but it also resulted in Miss Jones screen test, Shirley was finally cast saw that he immediately arranged winning the Oscar™ for best as Laurey in the film version of another audition with a casting supporting actress that year. Oklahoma! (1955). This critically director representing Rodgers and acclaimed production introduced Hammerstein. That audition lead After appearing opposite James the big screen Todd-AO process to to yet a third audition directly Stewart in the western Two Rode the movie-going public and also for Broadway’s biggest musical Together (1961), Shirley was back starred Gordon MacRae, Gloria writing team of the time. With her Grahame, Rod Steiger and Charlotte wholesome good looks and strong Continued on Page 6 Vol. 1, No. July 9, 006 – – VOICE of the THEATRE Technicolor – 1962 – 151 minutes Warner Bros. Print courtesy of Warner Bros. Studio Cast Robert Preston ..........................Harold Hill Shirley Jones ..............................Marian Paroo Buddy Hackett...........................Marcellus Washburn Hermione Gingold ....................Eulalie Mackechnie Shinn Paul Ford .....................................Mayor George Shinn Pert Kelton .................................Mrs. Paroo The Buffalo Bills .......................Jacey Squires, Ewart Dunlop Olin Britt, Oliver Hix Written by ...........................................Meredith Willson & Timmy Everett ...........................Tommy Djilas Franklin Lacey (Book) Susan Luckey .............................Zaneeta Shinn Ronny Howard ..........................Winthrop Paroo Marion Hargrove Harry Hickox ..............................Charlie Cowell (Screenplay) Charles Lane ..............................Constable Locke Produced & Directed by ..................Morton DaCosta Mary Wickes ..............................Mrs. Squires Sara Seegar ................................Maud Dunlop Non-Original Music ..........................Meredith Willson Adnia Rice ..................................Alma Hix (from musical “The Music Man”) Peggy Mondo .............................Ethel Toffelmier Lyricist .................................................Meredith Willson