John my bonny, if we ever sit down someday and have a natter like two old friends I’d tell you how in many ways you’re like The Old Man, which you’d better take as a compliment, because Rouben Mamoulian was a freakin genius. I didn’t think so when I worked for him, but then I was only twenty-three and he was eighty-one, and the only movie I knew of his—besides the one with Tyrone Power which I watched on TV when I was a kid—was Queen Christina, the result of cinema art-house hopping in New York in the mid-70s, and which had a special place in my half-lesbian heart on account of The Divine Garbo.
The most subtle reference ever to Agnes De Mille that was clearly about Agnes De Mille without having to mention her name was on Crazy Ex-Girlfriend, season 4 episode 2: “So now they’re randomly doing ballet?” “I guess so, it’s hard to follow.” (Hip-hop follows.) “That’s not even the correct dance language for this piece.” Bay Area-born Vincent Rodriguez III is the hunk in the red neckerchief who plays Josh Chan, heroine Rebecca Bunch’s pinoy love interest.
But like I said earlier, I’d known coming in that he had directed Carousel and Oklahoma on Broadway because Filipinos damn well know Rodgers & Hammerstein. There are a lot of parts for pinoys in R&H musicals, ever stop to think about that? I’ll bet you never, my Tyneside lad.
So when he finally started to open up to me, after a few weeks of my just coming in every weekday morning and answering his phone, opening his mail—unpaid bills, media people from all over wanting interviews, a few lines from old friends like Armina Marshall…Paul Horgan…Pamela Mason…Ray Bradbury—balancing his checkbook, reassuring Zayde on the intercom over and over that Henry their handyman hadn’t gone home yet etc etc, and basically fooling around during the many dull spots (which is how I ended up playing the Waltz from Carousel on the actual legendary Richard Rodgers piano) it was easy to follow The Old Man’s train of thought because I already knew a lot about the original production of Oklahoma.
“You know, Agnes…” he started right off the bat one day, and we both immediately understood who he was referring to: Agnes De Mille, the choreographer for the original 1943 production.
I sat up attentively, pen in hand, ready to take dictation. My main duty for Mamoulian was supposed to have been as amanuensis for his memoirs, after all. At least that’s what the temp agency had told me. Although they didn’t say amanuensis.
“No, put your pen down and listen!” he ordered. He was, in the weeks and months to come, going to say that a lot.
So I did.
Part One here.