Lauren Bacall - By Myself and Then Some

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By Myself and Then Some: краткое содержание, описание и аннотация

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The epitome of grace, independence, and wit, Lauren Bacall continues to project an audacious spirit and pursue on-screen excellence. The product of an extraordinary mother and a loving extended family, she produced, with Humphrey Bogart, some of the most electric and memorable scenes in movie history. After tragically losing Bogart, she returned to New York and a brilliant career in the theatre. A two-time Tony winner, she married and later divorced her second love, Jason Robards, and never lost sight of the strength that made her a star.
Now, thirty years after the publication of her original National Book Award–winning memoir, Bacall has added new material to her inspiring history. In her own frank and beautiful words, one of our most enduring actresses reveals the remarkable true story of a lifetime so rich with incident and achievement that Hollywood itself would be unable to adequately reproduce it.

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Kaufman, Sheekman, and the Goetzes were almost always together, talking about something to do with the play. I can guess now what it was, but I certainly couldn’t guess then. We got through the day by rehearsing – no time to sit and stew. There was so much to think about that even the shaking didn’t begin until I started my make-up. I checked the mailbox on entering the theatre and found a few telegrams. From the family, of course, and one very unexpected one which read:

You may as well start being a star in Wilmington as anywhere. So be good tonight.

Buzz Meredith

Oh, I was ecstatic about that!

I went through the same panic as the night before with one difference: there were critics out front tonight. Which meant there’d be reviews tomorrow. There were – and they were mixed. The experienced actors all had known that some things would be changed as we went along, that’s what tryouts are for. But they all believed in the play. Yet it was clear even to innocent me that there were problems. Of course they would be solved, but something was not quite right. Kaufman seemed preoccupied, and was always meeting with the authors and producers. Some changes were made each day – a new scene, some new dialogue, restaging – but nothing major until Washington, when we would have a day or two without performances while the set was being hung and lit.

Washington was another new world. First of all, it was a large, beautiful city – many hotels, so we wouldn’t all be together. And it had the White House, in which a man I worshipped, Franklin Roosevelt, resided. As we weren’t due for rehearsal until the following morning, we had a few hours to ourselves. Of course I wouldn’t allow the day to end without at least seeing the Colonial Theatre – the stage, the backstage, the dressing rooms – but I told Joyce and Florence I’d be back in about an hour and then go with them to the theatre. I walked a bit and found a taxi and told the driver I wanted to go to the White House! I’ll always remember seeing it for the first time. It sits far back from the street and isn’t really beautiful, but he was in it and it was a hallowed place. I walked toward the gate gazing at the building as if I were in a church, scrutinizing the grounds, thinking, hoping, that maybe I’d see Mrs Roosevelt if not the President. Or maybe even Fala, his Scottie. Each time an automobile drove in or out of the gates my heart skipped a beat, but it was never F.D.R. or Eleanor or anyone recognizable to me. Still, I was thrilled to be walking around as much as I was allowed to – there were guards at every gate and you weren’t supposed to linger for too long. I saw the Capitol dome and the Washington Monument in the distance, but I was saving the Lincoln Memorial for Buzz.

The days passed. I was still happy at being in a play and out of town, but I felt somewhat lost. Monday came as it always does and I felt better. We’d all be together again, working, creating – the nerves would start again and I’d feel alive again. I quickly ate my tiny breakfast and dashed over to the theatre. It was filled with life. The hum of preparation, expectation. Actors were going in and out of their dressing rooms, paper cups were filled with coffee – it was wonderful. George Kaufman arrived – our director, our leader, our security blanket. I felt good when he was there, certain that everything would be all right. We were given new scenes. George told us we would read them through, then work on them roughly, then onstage, then technical. A full rehearsal day. Scenes were passed around to the principals and the principal supporting actors. They sounded better than the old scenes, and as we started to stage them, they seemed funnier. This was what all those meetings had been about. New scenes always, or almost always, make actors feel more solid psychologically. For me at that time it seemed that change was improvement, and that improvement must lead to success. It wasn’t that I’d expected disaster, but things hadn’t seemed quite right. Anyway, the changes were thoroughly rehearsed, and another opening night was got through. The Washington reaction was not the same as Wilmington’s. A different kind of audience, more sophisticated. They laughed, but in different places and not often enough. But there was still a laugh when I walked onstage. I guess I would have looked funny to anyone who saw the play anywhere.

We went for something to eat and waited for the reviews. Just some of the actors – not George, not Max Gordon or the authors. It was always very nervous-making, waiting for Judgment. Would they like it? Would they mention me? Most of us thinking the same worried thoughts. At long last the important Washington review. This one really mattered, it would affect the New York reception. It was a very mild reaction. The critic was pleased by some of it, but it didn’t measure up to expectations; some good characters in it, and all the students were good, with special mention to ‘Jackie Gately and Betty Bacall.’ My name in a newspaper! Something to cut out and take home to Mother. The other papers didn’t mention me and were far from crazy about the play. It wasn’t terrible, they said – it just wasn’t anything definite enough, didn’t succeed enough in its concept. But with Kaufman’s knowledge and talent it could be fixed.

The next night at the theatre I received a call from Buzz. Had I seen the Lincoln Memorial yet? No. Okay, I’ll take you tonight after the show. I hung up, jumped up and down like a child with a great new toy. Buzz was there! He must just like me a little bit.

No one else was jumping for joy at the theatre. Nothing specific was said, but the more experienced actors were all aware of something. I couldn’t imagine what it might be – perhaps a cast change? No one would tell me anything. The general drift was that the play was in trouble.

Buzz picked me up after the performance, and when we emerged from the theatre, what was waiting but a horse and buggy! What a way to go to the Lincoln Memorial! I laughed, and loved it. Could anything in life be better than the combination of Lincoln, Buzz Meredith, and a horse and buggy? Not for me on that night. We approached the Washington Monument, passed the pool in front of it, and stopped at the foot of the Lincoln Memorial. It was a clear, moonlit night. We started to climb the steps, and as we approached the top, there were shafts of light coming from the inside. There were white marble pillars – it is all white – and what I saw when I reached the top made me gasp. There, sitting in a chair, was Abraham Lincoln, looking as though he were about to rise. It was awesome – an extraordinary emotional experience. And reassuring. One felt such tremendous pride in America – that everything was possible. Nothing I’ve seen since has affected me the way that monument did. And still does.

The next night at the theatre there was no George Kaufman around. We hadn’t had a rehearsal and I still didn’t know what was going on. There were meetings that night. What did they talk about at all those meetings? The next day Florence told me. She and Dorothy had seen George and he had said we were going to close after our Washington run. I burst into tears. It had never occurred to me that this might happen. I’d never dreamed that we would not open in New York. That was my second heartbreak in the theatre. I cried and cried, and when I cry I am a sight to see. Swollen red eyes, a mess! Florence and Dorothy tried to comfort me, telling me not to say anything until an official announcement was made. I knew that if I met anyone else in the cast, they’d know in a minute just by looking at me. So I went back to the Lincoln Memorial.

It was a crisp, clear day When I got to the Memorial quite a few people were there, but everyone was whispering. It was too overwhelming to do anything else. Lincoln was still in his chair, still looking at me, eyes following me as I moved. I went over to one side to see if he might turn his head. He didn’t. I read the speeches inscribed there – the Gettysburg Address on one side, the Second Inaugural Address on the other – and was transported again, my own sorrow pushed to the back of my mind for the moment. I stayed for almost an hour, but as I walked down the steps and away from him, my own pain came to the fore again.

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