Showing posts with label Lucille Ball. Show all posts
Showing posts with label Lucille Ball. Show all posts

7 January 2020

Lucille Ball & Lela Rogers' Little Theatre

Lela Rogers, mother of Ginger Rogers, was not your typical stage mom. Apart from managing Ginger's career, Rogers had a successful career in her own right. She was a journalist, editor, screenwriter and producer, and from the mid-1930s through the early 1940s she worked as an assistant to Charles Koerner, Vice-President of Production at RKO. Put in charge of RKO's budding talent, Rogers ran her own workshop on the studio lot called the Little Theatre, where she trained promising young actresses like Betty Grable, Joan Fontaine, Ann Miller and Lucille Ball.

In her autobiography Love, Lucy (1996), Lucille Ball fondly remembered those early days at RKO with Lela Rogers"It was such a busy, happy time for me. Lela took the dungarees off us and put us into becoming dresses; she ripped off our hair bands and made us do our hair right. If we went to see a big producer in his office, she cautioned us to put on full makeup and look like somebody. She made us read good literature to improve our English and expand our understanding of character. She drummed into us how to treat agents and the bosses upstairs... " 

Ball studied with Rogers for two years and would later give Rogers credit for turning her into the actress she became. Rogers was the first person to recognise Ball's potential as a comedienne ("a clown with glamour" she called her) even when RKO producer Pandro Berman had told her not to waste her time on Ball. Rogers also stood up for Ball when RKO wouldn't renew her contract and she was responsible for getting Ball a few of her early roles, e.g her first speaking role in Top Hat (1935) as well as her role in Stage Door (1937), the latter being Ball's first standout role.

Above: Lucille Ball and her mentor Lela Rogers whom Ball described as a "wise, warm woman". Below: Rogers shows John Shelton how to hold the gun in one of her Little Theatre productions while Lucy Ball looks on.
Below: Circa 1940, Lela Rogers is giving advice to her students Helen Parrish, Lucille Ball, Cathy Lewis and Anita Louise.

During two years Ball worked with Rogers in her Little Theatre, rehearsing and performing plays which attracted large crowds at 25 cents a ticket. The shows were a terrific opportunity for Ball and others to showcase their talent, especially since directors, producers and critics were often present in the audience. One of the plays produced and directed by Rogers at the Little Theatre was Fly Away Home in January 1936. Ball participated in the play, after which Rogers wrote her the following letter to thank her for taking part. Rogers called Ball's performance "excellent", her praise undoubtedly giving a boost to the young actress' ego. 

Source: icollector.com

Transcript:

January 23, 1936.

Dear Lucille:

I want you to know how sincerely grateful I feel for your participation in "Fly Away Home", and I want you to know that any time I can be of service to you in any way within my power please feel free to call upon me, as I felt free to call upon you.

Your performance was excellent and made "Fly Away Home" the success that it was.

Sincerely yours,

Signed "Lela E Rogers"

Miss Lucille Ball
1344 N. Ogden Drive,
Hollywood, California.

Above: Ginger Rogers and her mother Lela had a close relationship, both personal and professional. They appeared in one film together, Billy Wilder's The Major and the Minor (1942), where Lela played Ginger's mom.
Above: Lucille Ball and Ginger Rogers in Gregory La Cava's 1937 Stage Door (one of my favourite movies of all time). Ball wrote in her autobiography that La Cava didn't really like her but that he only gave her the part at Lela Rogers' insistence. Fun trivia: Lela Rogers was reportedly related to Ball on her mother's side which made Lucy and Ginger distant cousins (the two actresses were also lifelong friends).

3 April 2019

Doris & Lucy

In 1968, Doris Day started her own television show The Doris Day Show which would run successfully for five seasons until 1973 (at its peak watched by some 13 million households!). During the show's run, Doris was also offered to do a television special with a main focus on her songs. The Doris Mary Anne Kappelhoff Special was recorded in the summer of 1970 and aired by CBS on 14 March 1971. Following the show's broadcast, Doris received lots of praise, also from fellow actress Lucille Ball whom Doris sent a sweet thank-you note five days after the show (as seen below)

Doris Day and Lucille Ball, two of the greatest comediennes ever. Unfortunately they never got to work together.

Charmed by Doris' note to Lucy Ball, I searched the web to see if I could find more about these two ladies together. Apart from what I already knew they were both animal lovers (Doris still is at 97 (!) and with Lucy she had raised money in the 1970s for Actors and Others for Animals) I came across an interview from Lucy with Doris for Lucy's radio show, recorded on the set of Doris' film Do Not Disturb (1965). The interview is simply delightful and while it's been on YouTube since 2012 I had never heard it before. From the interview it's quite clear that Doris and Lucy liked and admired each other a lot. (I especially love the part where the women discuss their different styles of acting, i.e. Lucy liked to rehearse while Doris liked things to be spontaneous.)

So below you'll first find Doris' note to Lucy, written on 19 March 1971, and then the wonderful interview from Lucy with Doris which was recorded six years earlier.

Via: icollector.com

Transcript:

March 19, 1971

Mrs. Gary Morton
1000 N. Roxbury Dr.
Beverly Hills, Calif. 90210

Dear, Dear Lucy:

It made me so happy that you enjoyed my special and it made me even happier that you told me so. I really appreciate your thoughtfulness and again, thank you for taking the time.

Hope to see you soon.

Love, 

(signed 'Doris')
Doris



This post is my contribution to THE THIRD DORIS DAY BLOGATHON, hosted by LOVE LETTERS TO OLD HOLLYWOOD. Click here for a list of all the other entries.

HAPPY BIRTHDAY, DORIS!!!

19 November 2017

Lucille Ball's brush with the blacklist

In the early 1950's, Lucille Ball was under investigation by the HUAC, the notorious committee that investigated Communism in Hollywood. The evidence against her consisted, among others, of a 1936 affidavit of registration saying she would vote for the Communist Party, an affidavit revealing she had been a delegate of the State Committee of the Communist Party, her membership of the Committee for the First Amendment and the fact that a communist meeting was held at her home in 1937 (although Ball herself had not been present). With all the evidence against her, Ball was questioned by the HUAC during secret meetings in April 1952 and September 1953. Regarding the 1936 affidavit, Ball said that she had only registered to please her grandfather Fred Hunt, a life-long socialist. The other accusations she denied too, firmly stating that she was no communist and had no ties with the Communist Party.


A few days after Ball's second HUAC interview, well-known radio commentator Walter Winchell made the accusations against Ball public. At the time, Ball's television show I Love Lucy (launched in 1951) was extremely popular, with very high ratings and sponsor Philip Morris having invested $8 million in the show. Despite the considerable evidence against Ball, fans stood by her as did her sponsor, and even FBI director J. Edgar Hoover (a big fan of the show) supported her.

It is generally believed that the show's huge popularity played a decisive role in determining Ball's fate. While a lot of Ball's fellow actors, screenwriters etc. got blacklisted, Ball herself was cleared of the charges. The HUAC accepted her story about her grandfather as well as her explanation regarding the other accusations. In the end, the HUAC investigation had done nothing to dent Ball's popularity. On the contrary-- Ball was more popular than ever, about 50 million people tuned in each week to watch her show. Ball would later acknowledge that she had been very lucky. If the HUAC affair had happened several years earlier, it might have very well ruined her career.

Sept. 1953, Lucille Ball and husband Desi Arnaz give a press conference at their home following the HUAC hearing. Arnaz jokingly said: "The only thing Red about Lucy is her hair. And that's not real either!"






While Lucille Ball enjoyed the support from the majority of the American public, there were also those who didn't believe her explanations. The letters below, written by two angry US citizens to resp. radio commentator Walter Winchell and FBI director J. Edgar Hoover, show just that. The first letter was written in September 1953 and the second letter in December 1955, long after Ball had already been cleared. 

Apart from the letters, also seen below is a FBI document regarding Ball's 1953 testimony before the HUAC. The document shows what Ball had to say in her defense against the accusations. (For the full text of Ball's testimony, click here.)



Transcript

Dear Winchell;

What are these bums trying to prove? Lucille Ball defended the UNFRIENDLY TEN as late as 1948 and Granpop was not around to guide her at that time.

Clyne of the Blow Agency knew this dame was on the Pinko side when he signed her for Morris Cigarettes. Now Metro and the Morris people are trying to save what they can out off the mess by pushing aside Winchell and others who had the guts to PORVE [sic] THAT THIS DAME SIGNED WITH THE COMMY PARTY.

Ball is 42 now. In 1936 she was 29-- well over the 21 year old mark and should have had all of her marbles regarding political parties. FIVE YEARS AGO 1948, she STILL SHOULD HAVE HAD ENOUGH BRAINS TO KNOW THAT THE UNFRIENDLY TEN OF HOLLYWOOD WERE STILL COMMY BUMS..... But no she went along with them.

If Walter Winchell had bothered to call Dizzy [Desi Arnaz] he would have handed Winchell the same lies he handed the Herald Express the other day---- namely she never registered as a member of the Communist Party.... WHEN THE HERALD HAD THE SIGNED PROOF RUNNING IN THE PAPER AS DEZIE DENIED IT. I still think the show should be called I LOATHE LUCY and every real American feels that way too. 

[redacted]

Transcript :

Mr. J. Edgar Hoover
Washington 25, D.C.

Dear Mr. Hoover:

I read your interview with Vincent X. Flaherty published in the Los Angeles Examiner, October 22 and 23, (copies enclosed) and I am wondering if there is not a mistake or misquote of some kind since it lists Lucy and Desi among your favorite entertainers who you think set a good example for the youth of America.

Lucille Ball voted for the Communist Party and was appointed as a member of the Central Committee for the Communist Party. She insisted that she did this because her poor old grandfather was ill and that she had no dealings with communists on her own. Yet, ten years later-- with no contact of any kind-- grandpa had passed on-- when a communist speaker who is to make a radio broadcast falls ill-- the communist know exactly where to reach her and that she would be their willing stooge and she takes off from her job to broadcast for them. Again, she says, "I certainly was never in sympathy with the ' Dmytrks', I can't remember any of the other names." Well, in the library there was a book by one of the Hollywood ten-- and it has forewords of sympathy and support by movie stars-- and there is Lucille Ball with her words of sympathy and support.

She has never said she was sorry nor ashamed of these actions.

Since I'm one of the 98% of Americans who think Mr. J. Edgar Hoover is the greatest-- would you mind clarifying this for me.

Sincerely,
[redacted]


Transcript:

12/16/53

DIRECTOR, FBI  (100-400465)
SAC, LOS ANGELES (100-41702)

LUCILLE BALL, was.
SM-C

ReBulet dated 1/18/52 captioned "C.P, U.S.A., DISTRICT 13, Los Angeles Division, IS-C"  and remy-Air-Tel to Bureau 9/11/53 captioned "HOUSE COMMITTEE ON UN-AMERICAN ACTIVITIES".

The subject furnished an executive statement to WILLIAM A. WHEELER, West Coast Representative, House Committee on Un-American Activities, on September 4, 1953, at Hollywood, California. BALL stated that in 1936 she registered to vote as a Communist or intended to vote the Communist Party ticket because her grandfather, FRED HUNT, now deceased, wanted her to register as such.  She stated that FRED HUNT had been a Socialist all his life and she had registered as a Communist to make him happy and to do him a favor. She stated she at no time intended to vote as a Communist.

BALL stated she has never been a member of the Communist Party to "her knowledge"; had never been asked to become a Communist Party member; did not ever attend any meetings which she later discovered were Communist Party meetings;  did not know whether or not any meetings were ever held at her home at 1344 North Ogden Drive;  stated she did not know EMIL FREED and if he had appointed her as a delegate to the State Central Committee of the Communist Party in 1936 it was done without her knowledge or consent; did not recall signing the document sponsoring EMIL FREED for the Communist Party nomination to the office of member of the assembly of the 57th District; and has never heard of the California Conference for Repeal of the Criminal Syndicalism Act, the Southern California Council for Constitutional Rights, or the Committee for the 1st Amendment.

A review of the subject's file reflects no activity that would warrant her inclusion on the Security Index. The subject's file is being maintained in a closed status. On October 30, 1953, the Washington Field Office furnished the Los Angeles Office with a copy of the subject's executive statement which is located in Los Angeles file 100-41702-lal.


Source of all documents: vault.fbi.gov

This post is my contribution to CMBA's Fall Blogathon Banned and Blacklisted. For a list of all the other entries, please click here.

11 May 2014

You were superb!

In 1936, 13-year old Ann Miller was doing a tapdance routine in a nightclub in San Francisco when she was discovered by Lucille Ball and comedian Benny Rubin. Impressed with Ann's dancing skills, they both urged RKO to sign her to a contract. At RKO Ball and Miller would make a few pictures together: Stage Door (1937), Room Service (1938) (see photo above) and Too many girls (1940). 

Some 25 years later, on 25 May 1965, Lucille Ball (who had become a big star with the I Love Lucy-shows) sent a telegram to Ann Miller, praising her for her performance on the television show The Hollywood Palace. The reason the telegram caught my eye is because of the sweet handwritten comment, added later by Miller. 

Via: telegrams from last century

Transcript: 

MAY 25 65
ANN MILLER
1381 SUMMIT RIDGE DR BEVERLY HILLS CALIF

DEAR ANN NOW THAT THE FURORE HAS ABATED ABOUT YOUR GREAT PERFORMANCE ON PALACE LET MY VOICE BE HEARD YOU WERE SUPERB LOVE
LUCY

"Ball" after Lucy was added by Ann Miller as well as the comment: "Real thrilled over this. Called Western Union to be sure it was she."