Riedel Michael - Razzle dazzle : the battle for Broadway
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- Book:Razzle dazzle : the battle for Broadway
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- Publisher:Simon & Schuster
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- Year:2015
- City:Broadway (New York, N.Y.), New York (State)--New York., New York (State)--New York--Broadway
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Razzle Dazzle is a provocative, no-holds-barred narrative account of the people and the money and the power that re-invented an iconic quarter of New York City, turning its gritty back alleys and sex-shops into the glitzy, dazzling Great White Wayand bringing a crippled New York from the brink of bankruptcy to its glittering glory.
In the mid-1970s Times Square was the seedy symbol of New Yorks economic decline. Its once shining star, the renowned Shubert Organization, was losing theaters to make way for parking lots. Bernard Jacobs and Jerry Schoenfeld, two ambitious board members, saw the crumbling company was ripe for takeover and staged a coup amidst corporate intrigue, personal betrayals, and criminal investigations. Once Jacobs and Schoenfeld solidified their power, they turned a collapsed theater-owning holding company into one of the most successful entertainment empires in the world, ultimately backing many of Broadways biggest hits, including A Chorus Line, Cats, Les Miserables, Phantom of the Opera, and Mamma Mia! They also sparked the revitalization of Broadway and the renewal of Times Square.
Now Michael Riedel tells the stories of the Shubert Organization and the shows that re-built a city in grand style, revealing the backstage drama that often rivaled what transpired onstage, exposing bitter rivalries, unlikely alliances, andof coursescintillating gossip. This is a great story, told with wit and passion
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The boys from Syracuse, New York, who began it all: J. J., Sam, and Lee Shubert. Sam ( center ) went to work as a teenager at the Grand Opera House in downtown Syracuse. Within a few months, he was running the box office. Within a few years, he owned several theaters in upstate New York. Lee ( right ), the eldest, opened a haberdashery store, but was bored. He soon joined his younger brother Sam in the theater business. J. J. ( left ), the youngest, joined the business as well. Sam and Lee were cool and deliberate in business. J. J. was a hothead and a tyrant.
Sam S. Shubert on a ships deck striking a characteristically contemplative pose. But his dreamy, gentle look masked an enormous ambition that propelled him to New York City and into a ferocious battle with Abe Erlanger, whose Syndicate controlled the theater business.
A rare candid photograph of Sam looking prosperous and satisfied with the empire he was building. The people with him were probably actors in a touring Shubert show. Actors liked Sam because he paid them well and treated them fairly. Major stars of the day such as Minnie Maddern Fiske and Joseph Jefferson supported him in his fight with the ruthless Syndicate.
J. J. Shubert inspecting the chorus girls in a traveling Shubert show. He bedded many of them, and didnt hesitate to chew them out or hit them if they displeased him. One chorus girl he slapped sued him, complaining of a swollen eye and a bleeding lip. He accused her of sticking him with her hatpin.
Lee Shubert greeting a soldier at the Stage Door Canteen during World War II. He loved the sun, and could often be found in Central Park in the summer tanning himself in the open tonneau of his Isotta Fraschini. His upturned eyebrows and the deep wrinkles at the corners of his eyes make him look something like a good-natured Indian, A. J. Liebling wrote in a New Yorker profile.
J. J. greeting his biggest box-office starAl Jolson. J. J. cast Jolson in one of the Shubert Passing Show s at the Winter Garden Theatre. Jolson brought down the house singing Paris Is a Paradise for Coons in blackface. He left the Shubert stable in 1926 to make movie history, singing My Mammy in The Jazz Singer .
Lee looking very much like a cigar-store Indian with his wife, Marcella, a former show girl, and producer John Golden. Lee was not a model of fidelity. After his daily shave in a barber chair in his office, some girl or other from one of his shows would swing by for a little afternoon delight. They were called the Five OClock Girls because that was the appointed time. Lee had at least one bastard son, whom he installed in the box office of the Plymouth Theatre.
A grumpy-looking J. J. with his stylish second wife, Muriel, who had been a chorus girl at the Winter Garden Theatre. They met in 1921 but didnt marry until 1951. Muriel was on the Shubert payroll. Every week she received a check for $546.38, which she cashed at a Shubert box office. Pablo, her chauffeur, would then drive her to the Empire Bank, where shed put the money in a safety deposit box. Nobody knew what Muriel did with all her cash, said a Shubert employee. Maybe she was planning on making a fast getaway.
An aging J. J. with David Merrick, one of Broadways most prolific producers of the 1960s. Born David Margulois in St. Louis, he came to New York in 1939 and changed his name to Merrick, inspired by the eighteenth-century English actor David Garrick. He promoted the first play he produced, Clutterbuck , by calling bars and restaurants during the cocktail hour to page a Mr. Clutterbuck. It was the beginning of many legendaryand increasingly diabolicalDavid Merrick stunts.
J. J. confers with his only son and heir, John Shubert, whose mother was J. J.s first wife, Catherine Mary. J. J. groomed John to take over the business, but could be as nasty to him as he was to his other employees. My son has no more authority here than the porters in my theaters, he said. John Shubert predeceased his father. He had a massive heart attack on a train to St. Petersburg, Florida, where he kept a second wife and two secret children.
James M. Nederlander ( center ) learning the business from his father, David Tobias (D. T.) Nederlander ( left ), and the head box-office treasurer of D. T.s theaters in Detroit. D. T. gave his son plenty of advice, including Stay away from the backstage area or theyll want you to paint their dressing rooms. Jimmy Nederlander would eventually bring the family business to New York, challenging the Shuberts hold on Broadway.
A wheelchair-bound Eckie Shubert, John Shuberts legal widow, celebrates a Surrogate Court ruling that kept the Shubert empire intact after a scandal tarnished the family name. Congratulating her are ( left to right ) Betty Jacobs and Pat Schoenfeld, whose husbands, Bernard Jacobs and Gerald Schoenfeld, were J. J. Shuberts lawyers; and Shannon Dean, one of Eckies close friends.
Irving Goldman ( far left ) had the charm of a guy who sells you used Chevrolet upholstery, said producer Albert Poland. Goldman is celebrating his rise to the top of the Shubert Organization with ( left to right ) Bernard Jacobs, Eckie Shubert, and Gerald Schoenfeld. Schoenfeld and Jacobs needed the corrupt Goldmans support to take over the company. We didnt know how high the price would be, Jacobs would say.
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