Series 1, Episode 35: Much Ado About Nothing

From the New York Times: Quote: “Much Ado About Nothing is a feast! Joseph Papp’s 1972 CBS television production of the New York Shakespeare Festival’s staging of Shakespeare’s rollicking comedy is brassy, bouncy, and all–together entertaining. Featuring Sam Waterston, Douglas Watson and the Tony Award performances of Kathleen Widdoes and Barnard Hughes, Papp’s turn of the century version was critically acclaimed and enormously popular with audiences. Much Ado About Nothing originated at the open-air Delacorte Theater in Central Park. It was such a hit in the park that producer, Joseph Papp,  that fall, transferred the entire show to Broadway and there it became the longest running Shakespeare production in Broadway history. In 1972, 20 million people saw the broadcast of this CBS – TV IBM sponsored production of Shakespeare’s classic tale of romance, mistaken identity, and the battle of the sexes. Probably more people saw it on that one night than had seen it previously in history.

Transcript

SPEAKER_00 0:08

Welcome to Scatter Shot Symphony, the music of Peter Link. That's me. Hey y'all, this week being the thirty-fifth episode of this podcast, I prefer to let the music do the talkin'. However, if you need to know more about me, please visit Wikipedia.com or Peter Link. This episode is entitled Much Ado About Nothing, Central Park, on Broadway, and CBS Television Special. Well, yes, it is entirely possible. In fact, let us go back to 1972. New York City. From the pen of Marvin Richard Duran, New York City. I quote Much ado about nothing. Ah Sam Waterston at age 32. He continues. Presented by the New York Shakespeare Festival when it transferred to Broadway. I was in high school, and it was a glorious treat. Sam Waterston and Kathleen Whittles were wonderful as the sparring lovers, battling one another with words. Barnard Hughes was terrific as Dogberry, recreating a Keystone cop's character. The setting of the Spanish American War era was a very fine transfer, and the first Shakespeare production I had seen that didn't use the Elizabethan period. I had lots of wonderful memories of this production, and even managed to catch it when it was broadcast on television in nineteen seventy-three. Featuring Sam Waterson, Douglas Watson, and the Tony Award performances of Kathleen Widows and Barnard Hughes. Much ado about nothing originated at the open-air Delacour Theater in Central Park. It began as the audience entered the theater under the stars every show. So let us take you back to the time of the 1904 St. Louis World Fair in the good old summertime. To get into the mood, join us at the gazebo in the park and listen to the music of Private Paparovsky's genuine nickel-plated portable musical brass band. At the time, Sam Waterson was not a household name yet. This was a tremendous success that probably launched his career. Brilliantly directed by A.J. Antoine, the magical score also received a Tony Award nomination for composer at Peter Link. Another quote from the Times. Though not a musical per se, Link's cinematic scoring throughout the play put him in the running as best composer in the Tony musical genre. Probably more people saw it on that one night than had seen it previously in history. Though this turn of the century version has Teddy Roosevelt Rough Riders, Keystone Cops, and bicycle riding suffragettes, the story is the same. Mel Gasal at the New York Times. It wasn't a musical, but it felt like one. Music underscored and transitioned nearly every scene. The characters had themes, and yes, there were a few songs. My own personal favorite theme was written for Dogberry, the bungling chief of the Keystone Cops, played brilliantly by Barney Hughes, who, by the way, received a Tony Award for his performance. Here he comes now. Actually, I think that's a pretty easy call. Much ado. I wrote over an hour's worth of music, underscoring the scenes and setting Shakespeare's lyrics to music. I even wrote a 20-minute pre-show warm-up concert played by an eight-piece Oompa band using Joe Papp's original name. So we named it. Private Paparovsky's genuine nickel-plated portable musical brass band. Before the play and throughout, they played on stage in an enchanting park gazebo setting, and totally set the scene and period for the show. You heard one of their hiss at the opening of this podcast. As to the scoring, well, there were good guys and there were villains. About a week after we had opened on Broadway to smash reviews, I had proudly invited my parents to come to New York, see the show, and bring with them my grandmother, Marcella Roth, who was then in her late eighties. Nana was a lover of the theater and totally starstruck, especially now that her grandson had had his Broadway show. I reserved for the three of them my house aids, sixth row on the aisle, at Broadway's famed Winter Garden Theatre. On the night they came, it so happened that another attendee, to our head show, was the President of the United States, Richard M. Nixon, and his family, with the Cleague lights blazing out front, it was pandemonium, but washed with total elegance. The Secret Service was out in full force, and all the eyes of New York City were turned to this moment. I had my family come early to the theater to avoid the crush and enjoy the spectacle. I timed it so that the band, Private Paparovsky's genuine nickel plated portable musical brass band, came on stage and played Hail to the Chief, just as Nixon. Entered the theater and came down the aisle. The theater crowd stood and cheered with excitement. One of the pieces I had written for the pre-show concert was a wonderfully funky little theme song called Marcella named after my grandmother. In it, the band would play an instrumental chorus or two, and then all sing in their even funkier musicians' voices the following classic words. Marcella! Marcella! Marcella! Oh Marcella! Even before we knew Nixon was coming, I had already arranged with the band that when they performed the song that night, that Marcella was going to be there. And they should come down off the stage into the house in their military band costumes and serenade Nana there in the aisle. Everybody was so excited about this cute idea. So at the appropriate moment, halfway through the opening concert, the band did just that. They gathered in the aisle at row six and started to play. Now, the Nixon family, of course, had excellent seats as well. Eighth row on the aisle, two rows behind my family. So, when the band gathered in the aisle, everyone in the audience, of course, figured that the band had come down to serenade the president, and probably including the president himself. Smiles radiated through the theater as the band played on. Then the band began to sing. I watched Nana in that moment, from my hidden corner in the theater. As they began to sing, a shocked and puzzled look spread over her face. She looked back and forth from my father to my mother, then back to the band in speechless wonder as the band serenaded her there, in front of the President of the United States of America, at her grandson's hit Broadway show, at the famous Winter Garden Theatre in New York City. The people in the theater, including the President and his family, understood the moment right away, and the applause filled the theater for Marcella as the band played on. Nana sat stunned at the wonder of it all. I stood in my corner, watching, and wept. It was a moment I shall never forget. Nana talked about it for the rest of her life. Much ado about nothing was all about heart. Looking back, that was a pinnacle moment in my life, and a gift from God to my grandmother, and its timing and perfection. You can't make those moments up. Everything about it worked beyond expectation and to perfection. It's one of the favorite stories of my lifetime. Best of all, I got to work with one of my favorite collaborators of all time, William Shakespeare. Together, we wrote this next song. He was my favorite director I ever worked with. His understanding of how music could support a play in the most fascinating ways gave me the opportunity to work in a medium that was both live and cinematic. Together, we collaborated most successfully over and over again as our careers in the theater developed. Sadly, A.J. Antoon passed away far too early in life during the AIDS epidemic. I will always be grateful for his creativity and our friendship. I've seen quite a few productions of Muchadoo, both on film, TV and on stage. And I must say this Joseph Papp production, with Sam Waterston and Kathleen Widows is my absolute favourite. The time period is perfect. And Antoon really used the period and the setting extremely well. Using the Spanish American War as inspiration was inspiring. While filmed on a set, you can still see the roots his production had as a stage play. But that isn't lost when it's brought to the screen. The setting allows for more flexibility in shooting angles and close ups, but you still get a sense of the intimacy of a stage production. I say bully two thumbs up. Episode thirty-five, Much Ado About Nothing. I could not possibly end this without one more thank you. To Joseph Papp, the producer of Much Ado, and certainly one of the greatest forces in the American theater. When I was still a young man in my twenties and green around the edges, Joe took me under his wing and offered me the position of composer in residence at the New York Shakespeare Festival's public theater. Somehow, he recognized in me the possibilities. In the next five or six years, working at the public theater with great playwrights and wondrous actors, I learned the ropes. I learned to be an innovator. I learned my craft under Joe Papp's tutelage. I wrote music for over 40 shows during that time. In the school of Joseph Papp, I got my master's degree. Wherever you are, Joe. Thank you. And thanks to Watchfire Music and the entire staff for all your work in producing and promoting this podcast. A very special thanks also to Stuart Barefoot, our associate producer, for all your invaluable knowledge and great vibes. And lastly, a posthumous thanks to Ludwig von Beethoven for your opening four bars.

SPEAKER_03 32:17

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